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  Partner: UNT Libraries
 Decade: 1990-1999
 Degree Discipline: Composition
 Collection: UNT Theses and Dissertations
'...and one of time.': A Composition for Full Orchestra with Narration

'...and one of time.': A Composition for Full Orchestra with Narration

Access: Use of this item is restricted to the UNT Community.
Date: December 1999
Creator: Rinker, John Thomas
Description: ‘...and one of time.' is a reinterpretation of a small musical moment from Philip Glass' opera, Einstein on the Beach, centered around the phrase "Berne, Switzerland 1905." This reinterpretation is realized through the use of several different compositional techniques including spectral composition, micropolyphony and dodecaphony, as well as the application of extra-musical models developed by Alan Lightman, John Gardner, Italo Calvino and Albert Einstein.
Contributing Partner: UNT Libraries
I, Blavatsky: A One-Act Opera

I, Blavatsky: A One-Act Opera

Date: May 1990
Creator: Cooper, Steve, 1951 Dec. 4-
Description: I, Blavatsky is a one-act opera based on the life of Helena Petrovna Blavatsky, a nineteenth-century Russian princess and co-founder of a religious organization called the Theosophical Society. The libretto, by the composer, involves a cast of three principal soloists and minor roles for six more singers who are also participants in a small chorus. The text format features free verse alternating with regular, rhymed strophes. Accompaniment is provided by a piano. Melodic structure combines some nineteenth-century Romantic idioms with twentieth-century style. Most of the melodic and harmonic material was intuitively composed to express the text. Rhythmic and stylistic contrasts are accomplished in the representation of the extensive travels of the main character. Stage directions involve a stylized set, several scenes requiring minimal set changes, magical effects to represent that facet of Blavatsky's life, and onstage costume changes for several characters. Approximate duration is one hour.
Contributing Partner: UNT Libraries
Cenotaph: A Composition for Computer-Generated Sound

Cenotaph: A Composition for Computer-Generated Sound

Date: August 1990
Creator: Rogers, Rowell S. (Rowell Seldon)
Description: Cenotaph is a work of fifteen minutes duration for solo tape realized on the Synclavier Digital Music System at the Center for Experimental Music and Intermedia. All of the sound materials in the work consist of resynthesized timbres derived from the analysis of digital recordings of seven different human voices, each speaking the last name of one of the Challenger astronauts. The work's harmonic resources are derived in a unique way involving partitioning of the octave by powers of the Golden Section. The work is in a single movement divided into three sections which function as prologue, action, and epilogue, respectively. This formal structure is reinforced by differentiation of harmonicmaterials and texture. Although Cenotaph cannot be performed "live" and exists only as a recording, a graphic score is included to assist analysis and study.
Contributing Partner: UNT Libraries
Chaos, Cosmos, and Communion: Three Movements for String Quartet

Chaos, Cosmos, and Communion: Three Movements for String Quartet

Date: August 1994
Creator: Moran, David W. (David Wayne)
Description: The three movements of this piece are related proportionally in that movements one and two represent three-fifths of the length of the whole. Movement three represents two-fifths of the length of the whole. Another proportional relationship exists between movements one and two. Movement one represents two-fifths of the length of the first two movements, while movement two represents three-fifths of the length of the two. An additional link between the three movements is pitch content. Movements one and two have little in common in this regard, but movement three combines elements of the first two. The duration of the entire piece is approximately fifteen minutes.
Contributing Partner: UNT Libraries
Contours

Contours

Date: August 1994
Creator: Hughes, Russell M., 1954-
Description: Contours is scored for full wind ensemble and percussion, and is approximately nine minutes in length. The title refers to the way melodic shape or contour is used to create unity and variety in the piece. Contours is a single-movement work containing three sections that are unified by thematic and harmonic materials. The melodic material is generated by three twelve-tone rows, which are then used in combination with freely composed material. The first and last sections are highly contrapuntal and rhythmically disjunct. Both sections share common rhythmic and melodic patterns. These sections are contrasted with a slower and more lyric middle section. This section is made of a series of episodes that create an overall A-B-A structure.
Contributing Partner: UNT Libraries
As Darkness Falls: A Composition for Wind Ensemble

As Darkness Falls: A Composition for Wind Ensemble

Access: Use of this item is restricted to the UNT Community.
Date: December 1999
Creator: Prinz, Kendall R.
Description: As Darkness Falls is a composition that explores our interaction with several aspects of darkness through the use of musical imagery. The imagery attempts to reflect the moods, feelings, and impressions of a person as he or she interacts with darkness. The non-programmatic character of the composition allows listeners to superimpose their own experiences onto the musical tapestry in order to manifest a personal connection between the listener and the music. As Darkness Falls is a composition scored for a minimum instrumentation of piccolo, 6 flutes, 3 oboes, 3 bassoons, 9 B-flat clarinets, B-flat bass clarinet, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 4 B-flat trumpets, 4 horns in F, 3 tenor trombones, bass trombone, 2 euphoniums, 2 tubas, timpani, and 4 percussionists. The music consists of three movements (slow-slow-fast) lasting a total of approximately seventeen minutes. The duration of each of the three movements is six minutes, four and one-half minutes, and six and one-half minutes, respectively. The document also contains an analysis of the work by the composer. The analysis explores the compositional style of the work, focusing on musical aspects within each movement that were governing parameters in the compositional process.
Contributing Partner: UNT Libraries
A Different Drummer: A Chamber Opera

A Different Drummer: A Chamber Opera

Access: Use of this item is restricted to the UNT Community.
Date: May 1999
Creator: Friedman, Arnold Jacob
Description: A Different Drummer is a chamber opera adaptation of Donald Davis's story "A Different Drummer" from his collection Listening for the Crack of Dawn, published by August House. The opera lasts about seventy minutes, and calls for a cast of three and an orchestra of sixteen players. It contains a prologue, epilogue and four scenes in a single act. The score is prefaced by a paper describing the musical strategies employed in setting the story as an opera. Three chapters describe the adaptation from short story to opera, the essential musical elements, and details of the application of the musical elements in each scene of the opera. The libretto is presented in the fourth chapter.
Contributing Partner: UNT Libraries
The Full Armor of God

The Full Armor of God

Date: August 1997
Creator: Lawrence, Nicholas A. (Nicholas Alan)
Description: The Full Armor of God is a musical composition based on the apostle Paul's comparison in Ephesians 6:10-20 between armor for physical combat and armor for spiritual warfare. The instrumentation consists of the following: oboe/English horn, bassoon, two violins, viola, cello, and bass. Texts on Roman armor as well as commentaries and sermons on the scriptures were consulted for the basis of the musical materials. The piece combines imagery and historical associations with abstract renderings of both the physical and the spiritual.
Contributing Partner: UNT Libraries
S'I' Fosse Foco, Arderei'l Mondo

S'I' Fosse Foco, Arderei'l Mondo

Date: May 1993
Creator: De Lisa, Eugene, 1957-
Description: The dissertation is recorded computer music. It has a duration of fourteen minutes and fifty seven seconds. The source sound material is a reading of a sonnet of the same name by thirteenth century Sienese poet Cecco Angiolieri. It utilizes Linear Predictive Coding and Short-time-fourier synthesis in addition to postprocessing by spatialization and digital filtering. The discussion of the piece includes an explanation of the synthesis techniques, the pitch manipulation algorithms and the programs written by the composer to generate computer scores based on these algorithms, and finally how the individual musical events were generated and mixed together. The computer scores and programs used to generated these scores are provided after the discussion.
Contributing Partner: UNT Libraries
In Nomine Domini

In Nomine Domini

Date: August 1995
Creator: Crowley, Timothy R. (Timothy Robert)
Description: In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini ...
Contributing Partner: UNT Libraries
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