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  Partner: UNT Libraries
 Decade: 2000-2009
 Degree Discipline: Music Theory
 Collection: UNT Theses and Dissertations
The Aesthetics of Minimalist Music and a Schenkerian-Oriented Analysis of the First Movement "Opening" of Philip Glass' Glassworks

The Aesthetics of Minimalist Music and a Schenkerian-Oriented Analysis of the First Movement "Opening" of Philip Glass' Glassworks

Date: May 2009
Creator: Wu, Chia-Ying
Description: Philip Glass' Glassworks (1981) is a six-movement composition for two flutes, two soprano saxophones/clarinets, two tenor saxophones/bass clarinets, two French horns, violas, cellos, and the DX7 electric piano. Glassworks consists of six movements titled "Opening," "Floe," "Island," "Rubric," "Facades," and "Closing." This thesis covers the first movement "Opening." Repetition in musical minimalism confronts traditional prescriptive codes of tonal music and post-tonal music. While challenging the traditional codes, repetition in musical minimalism established new codes for listening to minimal music. This thesis explores the implications of these ideas.
Contributing Partner: UNT Libraries
Drafts, Page Proofs, and Revisions of Schenker's Der freie Satz:  The Collection at the Austrian National Library and Schenker's Generative Process

Drafts, Page Proofs, and Revisions of Schenker's Der freie Satz: The Collection at the Austrian National Library and Schenker's Generative Process

Date: May 2009
Creator: Auerbach, Jennifer Sadoff
Description: When Schenkerian theory began to influence scholarly circles in the United States, the primary - although not the only - work to which scholars had access was Schenker's last monograph, Der freie Satz. Reading textual passages and examining the many musical graphs in the companion volume of examples influenced their concept of the fundamental structure as Schenker understood it, as well as the relationship of the other levels (Schichten) to the larger structure. The problem is that most of the second generation of Schenkerian scholars were reading the 1956 second German edition, not the 1935 first German edition. The second edition had been altered for textual and musical content by Schenker's student, Oswald Jonas - so there is already a disconnect between the original version and the text scholars were reading at that time (the 1950s, 60s, and 70s). Furthermore, many younger North Americans were insufficiently fluent in German to be able to read the work in the original language. In order to make Schenker's treatise accessible to English-speaking scholars, Ernst Oster set about translating the work into English, a task completed in 1979 just after his death. The text was based on the second German edition (ed. Jonas, Vienna, ...
Contributing Partner: UNT Libraries
The Lessons of Arnold Schoenberg in Teaching the Musikalische Gedanke

The Lessons of Arnold Schoenberg in Teaching the Musikalische Gedanke

Date: May 2009
Creator: Conlon, Colleen Marie
Description: Arnold Schoenberg's teaching career spanned over fifty years and included experiences in Austria, Germany, and the United States. Schoenberg's teaching assistant, Leonard Stein, transcribed Schoenberg's class lectures at UCLA from 1936 to 1944. Most of these notes resulted in publications that provide pedagogical examples of combined elements from Schoenberg's European years of teaching with his years of teaching in America. There are also class notes from Schoenberg's later lectures that have gone unexamined. These notes contain substantial examples of Schoenberg's later theories with analyses of masterworks that have never been published. Both the class notes and the subsequent publications reveal Schoenberg's comprehensive approach to understanding the presentation of the Gedanke or musical idea. In his later classes especially, Schoenberg demonstrated a method of analyzing musical compositions using illustrations of elements of the Grundgestalt or "basic shape," which contains the technical aspects of the musical parts. Through an examination of his published and unpublished manuscripts, this study will demonstrate Schoenberg's commitment to a comprehensive approach to teaching. Schoenberg's heritage of eighteenth- and nineteenth-century music theory is evident in his Harmonielehre and in his other European writings. The latter include Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre (ZKIF), and Der musikalische Gedanke und die Logik, ...
Contributing Partner: UNT Libraries
Imagined Sounds: Their Role in the Strict and Free Compositional Practice of Anton Bruckner

Imagined Sounds: Their Role in the Strict and Free Compositional Practice of Anton Bruckner

Date: May 2008
Creator: Brooks, Jonathan
Description: The present study develops a dynamic model of strict and free composition that views them as relative to a specific historical context. The dynamic view espoused here regards free embellishments of an earlier compositional generation as becoming the models for a strict compositional theory in a later one. From the newly established strict compositional models, succeeding generations of composers produce new free embellishments. The first part of the study develops the dynamic conception of a continuously emerging strict composition as the context necessary for understanding Anton Bruckner's compositional methodology with respect to the harmonic instruction of his teacher, Simon Sechter. In other words, I view Sechter's harmonic theories as a strict compositional platform for Bruckner's free compositional applications. Many theoretical treatises of the seventeenth, eighteenth and nineteenth centuries such as those by Christoph Bernhard, Johann Philipp Kirnberger and Sechter acknowledged that strict composition must provide the structural framework for free composition. The above procedure becomes a manner of justifying a free embellishment since a "theorist" can demonstrate or assert the steps necessary to connect it with an accepted model from a contrapuntal or harmonic theory. The present study demonstrates that the justification relationship is a necessary component for understanding any ...
Contributing Partner: UNT Libraries
Die Neue Lehre: Developing an Online Course in Schenkerian Analysis

Die Neue Lehre: Developing an Online Course in Schenkerian Analysis

Access: Use of this item is restricted to the UNT Community.
Date: August 2001
Creator: Sadoff, Jennifer
Description: With the proliferation of Schenkerian theory in the US, Great Britain, and mainland Europe in the past quarter century, the pedagogy of Schenkerian analysis has become an important issue. Schenker himself was suspicious of textbooks with their tendency for artificial codification and over-simplification; rather, he recognized that his “New Teaching” (“Die neue Lehre”) – as he called it – required a different, more “organic” pedagogical approach that was both personal and yet accessible to a wide audience. New digital technologies and the Internet now have made it possible to disseminate Schenker’s pedagogical approach by adapting interactive techniques of Web-based instruction. Schenker’s “new teaching” was as organic as his theory itself – and as novel in the connections it sought to draw between the individualed disciplines of theory, musicology, composition, and performance. The interactive and multi-media components of Web-based instruction enable us to realize Schenker’s own pedagogical approach to Schenkerian analysis instruction.
Contributing Partner: UNT Libraries
D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material

D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material

Date: August 2001
Creator: Lively, Michael
Description: This research project evaluates the effectiveness of specific music theory instructional strategies in terms of D. A. Kolb’s theory of experiential learning and Kolb’s typology of individual learning style. The project provides an original methodology for the adaptation of music theory instructional material to the individual learning style types described in Kolb’s typology. The study compares the relative effectiveness of two music theory instructional sequences, one of which is adapted for all of the learning style modalities described in Kolb’s typology, and the other adapted for only a limited number of Kolb’s learning style types. In order to compare the potential “learning outcomes” produced by these instructional sequences, a detailed study is proposed, in which computer based instruction (CBI) will deliver the instructional sequences to research participants and electronically record the participants’ responses. The current study demonstrates the effective aspects of the original methodology and suggests methods for the successful adaptation of music theory instructional material to individual student learning styles.
Contributing Partner: UNT Libraries
Beethoven's Opus 18 String Quartets: Selected First Movements in Consideration of the Formal Theories of Heinrich Koch as Expressed in Versuch Einer Anleitung Zur Composition

Beethoven's Opus 18 String Quartets: Selected First Movements in Consideration of the Formal Theories of Heinrich Koch as Expressed in Versuch Einer Anleitung Zur Composition

Date: December 2006
Creator: Tompkins, Robert
Description: Heinrich Koch completed his treatise in 1793, a pioneering work regarding the musical phrase as well as a sonata form description (lacking that term). Composition of Opus 18 began in 1798, a momentous project for several reasons in Beethoven's early career. Here, the theories expressed in Koch's Versuch are taken as an analytic springboard into a thorough analysis of the first movement of the quartet published no. 3, which was the first composed; additionally, nos. 1 and 6 are explored to a lesser degree. This study in phrase-analysis demonstrates significance in the fundamental ideas of Koch as applied to a masterwork of the turn of the 19th century.
Contributing Partner: UNT Libraries
Reevaluating twelve-tone music: analytical issues in the second movement of Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22.

Reevaluating twelve-tone music: analytical issues in the second movement of Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22.

Date: August 2006
Creator: Lin, Tzu-Hsi
Description: Twelve-tone music illustrates many characteristics relative with those of conventional tonal form, though works are based on a different composition method. The fundamental question of twelve-tone music arises in debate on terminology between tonal and atonal as well as methodology of musical analysis. Certain theorists try to approach twelve-tone music by traditional harmonic views rather than by pitch-class set theory. Conventional harmonic aspects arise from the fact that both tonal and twelve-tone music share similar narrative strategies. This point is explored in examining Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22, which displays connection to tonal music. The present study seeks to examine certain features of the composer's working in pitch materials; i.e., the dispositions of pitch classes and the characteristics of the matching dyads, and thereby to disclose the connection between twelve-tone methods and conventional harmony.
Contributing Partner: UNT Libraries
Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio

Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio

Date: May 2006
Creator: Moore, Michael J.
Description: Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio
Contributing Partner: UNT Libraries
The Opening Section of Isang Yun's My Land My People: A Cross-Section of Korean and Western Musical Features

The Opening Section of Isang Yun's My Land My People: A Cross-Section of Korean and Western Musical Features

Date: May 2006
Creator: Choi, Woohyuk
Description: Isang Yun's oratorio My Land My People is organized in four movements, and is scored for orchestra, solo voice and choir. Movements are titled as follows: Rjoksa (History), Hyon-Shil I (Presence I), Hyon-shil II (Presence II), and Mi-rae (Future). This document only covers from measures 1-38 of the first section of the first movement of this work. Even though this work is atonal, the composer emphasizes a harmonically moving, tonal sonority: interval class five includes perfect 4th and 5th, quintal-quartal harmony and authentic cadence moving dominant to tonic. Also, in this document, a comparison with Korean traditional music elements is included to support Isang Yun's musical features.
Contributing Partner: UNT Libraries
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