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  Partner: UNT Libraries
 Department: College of Music
 Decade: 1990-1999
 Collection: UNT Theses and Dissertations
Mail Order Music: the Hinners Organ Company in the Dakotas, 1879-1936

Mail Order Music: the Hinners Organ Company in the Dakotas, 1879-1936

Date: August 1997
Creator: Alcorn-Oppedahl, Allison A. (Allison Ann)
Description: Founded in 1879 by John L. Hinners, the Hinners Organ Company developed a number of stock models of small mechanical-action instruments that were advertised throughout the Midwest. Operating without outside salesmen, the company was one of the first to conduct all of its affairs by mail, including the financial arrangements, selection of the basic design, and custom alterations where required. Buyers first met a company representative when he arrived by train to set up the crated instrument that had been shipped ahead of him. Tracker organs with hand-operated bellows were easily repaired by local craftsmen, and were suited to an area that, for the most part, lacked electricity. In all, the company constructed nearly three thousand pipe organs during its sixty years of operation. Rapid decline of the firm began in the decade prior to 1936 during which the company sold fewer than one hundred instruments, and closed in that year when John's son Arthur found himself without sufficient financial resources to weather the lengthy depression. The studies of the original-condition Hinners organs in the Dakotas include extensive photographs and measurements, and provide an excellent cross section of the smaller instruments produced by the company. They are loud, excellently crafted, ...
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A Phenomenology of Music Analysis

A Phenomenology of Music Analysis

Date: December 1995
Creator: Anderson, Andrew E. (Andrew Edwin)
Description: Many of the early writings and lectures of the German phenomenological philosopher Martin Heidegger involve investigations into the question of Being. An important part of these investigations is his examination of how we go about the everyday business of existing--doing our jobs, dealing with things in our environment, working through problems, thinking, talking--and what our ways of operating in these everyday activities tell us about our Being in general. Musicians have their own everyday musical tasks, two of the most prominent of which are composing and performing. Composers and performers, like everyone else, have a 'world'--Heidegger's word for the structure of relationships between equipment, persons, and tasks and the way in which a person is situated in that structure--and that 'world' allows them to cope with their musical environment in ways that enable them to make music as composers and performers. Analyzing music is an activity that a Heideggerian approach sees as derived from the primary musical activities of composing and performing. A music analyst trades the possibility of primary musical involvement for a kind of involvement that points out determinate characteristics; hence in adopting an analytical stance, the analyst trades doing something musical for saying something about music. In ...
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Jonah's Prayer: a Composition for Solo Tenor, Mixed Chorus and Two Pianos

Jonah's Prayer: a Composition for Solo Tenor, Mixed Chorus and Two Pianos

Date: December 1998
Creator: Au, Siu-ming Stefan
Description: Jonah's Prayer is a choral work for solo tenor, a mixed choir of not fewer than 30 members, two pianos and a few percussion instruments to be played by choir members. The piece lasts about 13 minutes; it is a work intended for church choir use but could be performed in other venues as well.
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Sinfonietta

Sinfonietta

Date: December 1994
Creator: Au, Siu-ming Stefan
Description: Sinfonietta is a work of about 18 minutes for orchestra with an instrumentation of 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 timpani, percussion, harps, piano and strings. Three players are required for the percussion battery. The work is in four movements: Prelude, Theme and Variations, Largo and Finale. Movement I is in a tri-partite design. In the second movement, the theme is first enunciated by a solo violoncello in its high register followed by seven variations in the orchestra. In Movement III, there are three brief sections plus a longer coda which links to the Finale, the last movement of the Sinfonietta. This movement ends the work with a double fugal section where many of the important features used in the work recur. The movements are made coherent by means of cyclic treatment of the material.
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A Study of Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 by Johann Joseph Fux: the Historical Significance as Works for Alto Trombone and Performance Considerations, a Lecture Recital together with Three Recitals of Selected Works by J. Albrechtsberger, R. Gregson, W. Hartley, E. Bozza, Lars-Erik Larsson, A. Pryor and Others

A Study of Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 by Johann Joseph Fux: the Historical Significance as Works for Alto Trombone and Performance Considerations, a Lecture Recital together with Three Recitals of Selected Works by J. Albrechtsberger, R. Gregson, W. Hartley, E. Bozza, Lars-Erik Larsson, A. Pryor and Others

Date: May 1994
Creator: Babcock, Ronald D. (Ronald Dean)
Description: Johann Joseph Fux's influence on the development of eighteenth-century alto trombone literature is significant. His music, when compared with that of other composers who wrote for the alto trombone before 1730, reveals a more elaborate and frequent use of the instrument. Many of Fux's compositions call for alto, tenor, or bass trombone, but his Sonata a Quattro K. 347 and Alma Redemptoris Mater K. 186 are of particular interest in regard to the composer's treatment of the alto trombone. This study points out the technical demands placed on the trombonist in Fux's works as compared to such contemporary composers as Antonio Caldara and Marc'Antonio Ziani. The primary goal of this study is to substantiate the importance of Fux's role in the development of the alto trombone repertoire. Published and unpublished works by Fux that significantly incorporate the instrument have been studied and compared to compositions of his contemporaries. A thorough discussion of Sonata a Quattro and Alma Redemptoris Mater illustrates the technical aspects of his alto trombone writing. The secondary goal of this study is to create a performing edition of Sonata a Quattro and Alma Redemptoris Mater. The existing editions in Denkmaler der Tonkunst in Osterreich and Johann Joseph ...
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Ronald Stevenson's Passacaglia on DSCH: Understanding the Composer's Unique Approach to Large-Scaled Structure, a Lecture Recital, together with Three Recitals of Selected Works of L.V. Beethoven, J. Brahms, F. Liszt, F. Mendelssohn, B. Bartók and Others

Ronald Stevenson's Passacaglia on DSCH: Understanding the Composer's Unique Approach to Large-Scaled Structure, a Lecture Recital, together with Three Recitals of Selected Works of L.V. Beethoven, J. Brahms, F. Liszt, F. Mendelssohn, B. Bartók and Others

Date: August 1994
Creator: Beckman, Bradley J. (Bradley John)
Description: This paper investigates Ronald Stevenson's unique treatment of large-scaled structure in his Passacaglia on D S C H. This piece's unusual eighty-minute length, use of traditional forms and unusual piano techniques, musical references to other cultures and a massive triple-fugue over a ground bass will be examined as they relate to its overall form. The elements of rhythm, melody/mode, harmony, counterpoint, piano techniques, and tonality are also used as means of highlighting many unifying elements of the piece which contribute to its overall cohesiveness. Tributes to other composers, among them Dimitry Shostakovich to whom the piece is dedicated, are discussed in addition to many references to world cultures and events which support Stevenson's views on what he terms world music. Rarely is a piece written that encompasses such a wide range of musical elements that possess the ability to engage an audience for an uninterrupted length of eighty-minutes. As of yet, an in-depth scholarly investigation of Stevenson's treatment of formal unity in this landmark piano work has not been done. This analysis reveals Stevenson's approach to composing in such a large form, as well as illustrating his mastery of variation, counterpoint and unending ingenuity for innovative piano techniques. The composer's ...
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Harmony and Structure in Richard Strauss's Macbeth

Harmony and Structure in Richard Strauss's Macbeth

Date: August 1996
Creator: Bills, Danny C.
Description: This study begins with a discussion of step theory. Included in this discussion is the basis of chord succession, the idea of fundamental representation, and the uses of reinterpretation technique. These concepts are then used to demonstrate the continuity and logic of the harmonic language found in Strauss's Macbeth.
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The Utilization of Folk Song Elements in Selected Works by Ralph Vaughan Williams and Percy Grainger with Subsequent Treatment Exemplified in the Wind Band music of David Stanhope

The Utilization of Folk Song Elements in Selected Works by Ralph Vaughan Williams and Percy Grainger with Subsequent Treatment Exemplified in the Wind Band music of David Stanhope

Date: May 1996
Creator: Birdwell, John Cody
Description: An examination of the utilization of folk song elements in the wind band music of Australian composer David Stanhope, represented in two movements ("Lovely Joan" and "Rufford Park Poachers") from his Folk Songs for Band. Sets 1 and 2. Included is an historical overview of English folk music, emphasizing the theoretical properties of the English folk song and the events surrounding the modern renaissance of British folk music. Background information related to the musical development of Vaughan Williams, Grainger, and Stanhope is provided, noting the influence of the folk idiom in their compositional styles and Grainger's influence on the music of David Stanhope. An historical account of the two folk songs examines the events and compositional procedures related to the inclusion of "Lovely Joan" in Vaughan Williams' Fantasia on Greensleeves. and Grainger's use of "Rufford Park Poachers" in Lincolnshire Posv. Emphasis is placed on the subsequent compositional treatment of the folk elements in Stanhope's wind band compositions. A detailed analysis of Stanhope's compositional style includes structural, harmonic, melodic, and historical considerations, while specifically illuminating his contemporary and innovative approaches to scoring and instrumentation.
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The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others

The Trumpet in Selected Solo and Chamber Works of Paul Hindemith : Elements of Trumpet Technique and Their Relationship to the Gebrauchsmusik Concept, a Lecture Recital, Together with Three Recitals of Selected Works of J.N. Hummel, A. Jolivet, C. Chaynes, and Others

Date: August 1994
Creator: Bogard, Rick
Description: The trumpet was one of the wind instruments Hindemith used frequently in his chamber music, and he employed it prominently in five works from 1925 to 1954. These works are the Sonate fur Trompete (1939), the Konzert fur Trompete in B und Fagott mit Streichorchester (1954), Drei Stucke (19251 the Septett fur Blasinstrumente (1949), and "Morgenmusik," from the collection Plöner Musiktag (1932). This study examines and compares Hindemith's writing for the trumpet in these selected works, noting features in his use of the instrument which determine the applicability of the works to the Gebrauchsmusik concept.
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An Investigation of the Influence of Evaluator Background on Appraisals of a Music Lesson Using the Texas Teacher Appraisal System

An Investigation of the Influence of Evaluator Background on Appraisals of a Music Lesson Using the Texas Teacher Appraisal System

Date: December 1997
Creator: Bohnstengel, Carol
Description: This study's purpose was to investigate the differences in scores and written comments given by two appraisal groups in their evaluation of a music teacher using the Texas Teacher Appraisal System (TTAS). One appraiser group had musical training while the other group specialized in other subjects. Analyses of both group's appraisal scores showed no significant differences. An examination of the written comments revealed that both appraisal groups focused on the same aspects of the lesson and used similar vocabulary. The TTAS instrument was a consistent measure of generic teacher behaviors in the music lesson, but it did not measure specific music teaching behaviors or encourage suggestions for improving musical instruction.
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Was Ist Silvia? Englanderin Oder Deutsche? Restoring the Orignial English Texts to Songs Schubert Set in Translation, a Lecture Recital, Together with Three Recitals of Selected Works of H. Purcell, G. F. Handel, W. A. Mozart, F. Schubert, J. Brahms, H. Wolf, F. Poulenc and Others

Was Ist Silvia? Englanderin Oder Deutsche? Restoring the Orignial English Texts to Songs Schubert Set in Translation, a Lecture Recital, Together with Three Recitals of Selected Works of H. Purcell, G. F. Handel, W. A. Mozart, F. Schubert, J. Brahms, H. Wolf, F. Poulenc and Others

Date: May 1995
Creator: Bolthouse, Colleen R.
Description: Because of the lack of information concerning the success or failure of Schubert's bilingual edition and concerning the relationship between the English texts and Schubert's settings, most performers take the conservative route of performing both the songs from Lady of the Lake and the rest of Schubert's English song repertoire only with the German translations. Because of the desirability of performing this repertoire in English for English-speaking audiences, this study examines all of the English songs of Schubert to determine whether the original poems can be successfully substituted for the German translations. Editions of the settings that can be effectively performed with the English texts are included in the appendix, in order to make available editions which reflect Schubert's ambition to make his songs easily accessible to non-German-speaking audiences.
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A Capella Eletronnica

A Capella Eletronnica

Date: August 1995
Creator: Bonneau, Paul G. (Paul Gregory)
Description: The intent of A capella Eletronnica is to explore the possibility of the human voice as the most versatile of musical instruments. The voice, capable of melodic, harmonic, percussive and rhythmic effects, is also employed for spoken text and conversational elements as musical sources. My aim was to enlarge this array of vocal techniques with the use of electronic processing and amplification.
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"Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage

"Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage

Date: December 1999
Creator: Boutwell, Brett N.
Description: John Cage’s Concerto for Prepared Piano and Chamber Orchestra (1950-51) holds a unique position within the composer’s oeuvre as the first work based in part on chance-derived compositional procedures. Cage entered into such practice gradually, incrementally abandoning subjective taste and personal expression through the course of the work. Drawing from the philosophical framework provided by Cage’s "Lecture on Nothing" (1950) and "Lecture on Something" (c. 1951-52), this thesis explores the aesthetic foundations of the concerto and examines Cage’s compositional methodology throughout its three movements. Special attention is paid to the procedure underlying the first movement, whose analysis is based largely on the composer’s manuscript materials for the work.
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The Dramatic Aspects of Thea Musgrave's Narcissus for Solo Flute and Digital Delay (1987) : With Three Recitals of Selected Works by Bach, Feld, Debussy, Persichetti, Berio, Varese, Mozart, Roussel, and Others

The Dramatic Aspects of Thea Musgrave's Narcissus for Solo Flute and Digital Delay (1987) : With Three Recitals of Selected Works by Bach, Feld, Debussy, Persichetti, Berio, Varese, Mozart, Roussel, and Others

Date: May 1996
Creator: Boyd, Diane, 1967-
Description: An examination of the compositional style, subject matter, and use of technology as found in Thea Musgrave's 1987 composition Narcissus for solo flute and digital delay. Includes a short history of Musgrave's formal training, an overview of her creative output, and a discussion of the evolution of her compositional style from her studies with Boulanger in Paris to the present with special emphasis on her dramatic-abstract concept and her forays into post-modernism. Provides insight into Musgrave's choice of mythological text, the literary basis of the Narcissus legend, and its impact on Western thought. Identification of principal motifs, discussion of harmonic implications, melodic language, and optional intermedia effects; and explanation of the electronic effects used within the work. Detailed analysis of the motifs, their electronic manipulations, and how they represent aurally the characters of the Narcissus myth. Listing of Musgrave's works with flute or piccolo in a primary role, details of her transcription of Narcissus for solo clarinet, and diagrams of digital delay controls and stage setting follow as appendices.
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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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Transcendentalism and Intertextuality in Charles Ives's War Songs of 1917

Transcendentalism and Intertextuality in Charles Ives's War Songs of 1917

Date: December 1998
Creator: Brandt, R. Lynne (Rebecca Lynne)
Description: This thesis examines a collection of three songs, "In Flanders Fields," "He Is There!," and "Tom Sails Away," written by Charles Ives in 1917, from primarily a literary perspective involving Transcendentalism and intertextuality. Ives's aesthetic builds upon the principles of Transcendentalism. I examine these songs using the principles outlined by the nineteenth-century Transcendentalists, and Ives's interpretations of these beliefs. Another characteristic of Ives's music is quotation. "Intertextuality" describes an interdependence of literary texts through quotation. I also examine these songs using the principles of intertextuality and Ives's uses of intertextual elements. Familiarity with the primary sources Ives quotes and the texts they suggest adds new meaning to his works. Transcendentalism and intertextuality create a greater understanding of Ives's conflicting views of the morality of war.
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The Multi-percussion Writing of William Kraft in his Encounters Series With Three Recitals of Selected Works of Erb, Ptaszynska, Redel, Serry, and Others

The Multi-percussion Writing of William Kraft in his Encounters Series With Three Recitals of Selected Works of Erb, Ptaszynska, Redel, Serry, and Others

Date: May 1993
Creator: Bridwell, Barry D.
Description: The paper is divided into six chapters. The first two provide a brief summary of the evolution of multiple percussion and biographical information about Kraft. The remaining chapters are an examination of the origin, sound sources, compositional style, and performance problems of the ten Encounters pieces. The paper concludes with several appendices, including a chronological listing of Kraft's compositions which use percussion, a list of percussion equipment and notational symbols used in the Encounters pieces, and a discography of Kraft's music.
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Opera and the Galant Homme: Quinault and Lully's Tragedie en musique, Atys, in the Context of Seventeenth-Century Modernism

Opera and the Galant Homme: Quinault and Lully's Tragedie en musique, Atys, in the Context of Seventeenth-Century Modernism

Date: May 1994
Creator: Browne, Marilyn K. (Marilyn Kay)
Description: The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered accessibility to this major new genre in seventeenth-century literature and music.
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Evolution, Symmetrization, and Synthesis : The Piano Sonatas of Alberto Ginastera

Evolution, Symmetrization, and Synthesis : The Piano Sonatas of Alberto Ginastera

Date: August 1991
Creator: Campbell, Grace M.
Description: When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982). The second means of evolution from sonata to sonata is through a process of symmetrization. Along with constructions using symmetrical scales, material in each of the three sonatas is subjected to various symmetrical procedures which correspond musically to basic geometric symmetry types or operations (bilateral, rotational, and translatory, for instance). The decreasing number of movements evidences a negative dilatation of material, moving from four movements in the first sonata to three in the second, to one in the third. In each case, corresponding material from the previous sonata is integrated into the following sonata. Both independently and as a group the three piano sonatas exhibit ...
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Riders to the Sea

Riders to the Sea

Date: December 1993
Creator: Carson, Michael, 1959-
Description: Riders to the Sea is a chamber opera in one act of approximately 40 minutes in duration. The single act is divided into six scenes that progress without pause. The vocal parts are comprised of 2 sopranos, 1 mezzo-soprano, 1 baritone, and an off-stage chorus of men's voices (tenor I, tenor II, baritone, and bass; two per part). The orchestra will be comprised of winds (1-1-1-1-1), brass (2-2-1-1), strings (2-2-2-2-1), piano, 2 percussionists, and tape, that will be used to provide a continuous background of surf and wind sounds. Authentic Irish folk songs are threaded throughout the work, generally functioning as a background element, while twentieth-century compositional techniques are utilized primarily for special effects.
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Boulez's Sonatine and the Genesis of His Twelve-tone Practice

Boulez's Sonatine and the Genesis of His Twelve-tone Practice

Date: May 1998
Creator: Chang, Sangtae
Description: This dissertation proposes that the Sonatine broadly unfolds a kinetic structure that stems from the traditional tension-relief model and, consequently, its dependence on tradition proves much deeper than Boulez would acknowledge.
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Cyril Scott's Piano Sonata, Op. 66: A Study of His Innovative Musical Language, With Three Recitals of Selected Works by Mozart, Schumann, Scriabin, Debussy, Ravel and Others

Cyril Scott's Piano Sonata, Op. 66: A Study of His Innovative Musical Language, With Three Recitals of Selected Works by Mozart, Schumann, Scriabin, Debussy, Ravel and Others

Date: May 1995
Creator: Cheung, Ching-Loh
Description: The objective of the dissertation is to examine Cyril Scott's musical language as exhibited in his Piano Sonata, Op. 66. Subjects of discussion include Scott's use of form, rhythm, melody, tonality, and harmony. Also included are a biographical sketch of the composer and his philosophical view of modernism. A comparison of the original version and the revised edition of this sonata, as well as references to Cyril Scott's two other piano sonatas are also included during the examination of his harmonic and rhythmic style.
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Assimilation of Baroque and Classical Essence with Romantic Sentiment: a Structural Analysis of Felix Mendelssohn-Bartholdy's Sonata in C Minor for Organ, Opus 62, No. 2

Assimilation of Baroque and Classical Essence with Romantic Sentiment: a Structural Analysis of Felix Mendelssohn-Bartholdy's Sonata in C Minor for Organ, Opus 62, No. 2

Date: December 1994
Creator: Chou, Kwong-Yan Godwin
Description: The purpose of this study is to examine Sonata No. 2 in detail from many analytical perspectives including melodies, rhythms, harmonic progressions, tonal plans, voice leading, and cadential patterns on macro- and micro-levels. It is believed that a more in-depth discussion of the composition from the perspective of harmony and voice leading may provide answer for the questions raised, and correct some misinterpretations in the works of certain writers. Furthermore, through analysis of Sonata No. 2. this study will show the relationship of the use of formal, stylistic, harmonic features between Mendelssohn and other composers of the eighteenth and nineteenth centuries.
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A Wedding Ceremony: Processional, Kyrie, Alleluia!, Hosanna!, Recessional

A Wedding Ceremony: Processional, Kyrie, Alleluia!, Hosanna!, Recessional

Date: May 1998
Creator: Cieminski, Theresa
Description: A Wedding Ceremony is a composition of approximately 17 minutes in duration and is scored for horn in F, two trumpets in B-flat, trombone, two percussionists (timpani, roto toms, chimes, snare, triangle, suspended cymbal), 2-part boys choir, female soprano, and organ. The work consists of five parts of a mass, the Processional, Kyrie, Alleluia!, Hosanna!, and Recessional, with texted sections being taken from the Latin mass. The work is intended for a sacred wedding service of any denomination. The work was composed with the traditional aspects of the Latin mass in combination with a contemporary setting.
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