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  Partner: UNT Libraries
 Degree Discipline: Composition
 Degree Level: Master's
 Collection: UNT Theses and Dissertations
Rhapsody for Piano and Small Orchestra

Rhapsody for Piano and Small Orchestra

Date: December 2001
Creator: Ahn-Kim, Yong Hee
Description: Rhapsody for Piano and Small Orchestra is a one-movement composition in a concerto fashion for seventeen players, and is about nine minutes in duration. The overall form of this work is A B C D E D1 C1 B1 A1. This work contains various hidden compositional devices such as the golden section principle and a palindrome structure. These devices are applied not only to the structure of the work, but also to the pitch related and rhythm-related matters. Also, certain melodic and rhythmic cells are employed for each section in the developmental procedure of that section almost exclusively. Since this work is a concerto-like piece, there are two cadenza-like passages for the piano with an accompanying solo instrument, which plays the obbligato passage. The following essay addresses the form, pitch materials, harmony, rhythm and technical difficulties, orchestration, and variant elements between the corresponding sections used in this work.
Contributing Partner: UNT Libraries
Heart of the Fathers, for Wind Symphony

Heart of the Fathers, for Wind Symphony

Date: May 2000
Creator: Anderson, Stephen Reg
Description: Heart of the Fathers is a programmatic, seven movement work for wind symphony depicting my ancestors and their role as part of the history of The Church of Jesus Christ of Latter-day Saints. The movements represent their spiritual experiences, labors, times of joy, persecution, migration, and finally their arrival and success in their new homeland. The piece is organized in seven movements. Each movement represents a different portion of history leading to the western migration of my ancestors. The programmatic music contains a variety of symbols depicting the experiences of the pioneers. In the paper, each chapter addresses an individual movement. For each movement, the following information is provided: the historical events that inspired the piece, the musical symbols that characterize the program, and an analysis of the function of the music.
Contributing Partner: UNT Libraries
Present Absence:  A work for string quintet and live electronics

Present Absence: A work for string quintet and live electronics

Date: May 2001
Creator: Bell, Jeffrey C.
Description: Present Absence is a work that integrates electronic processing and live performance. It is approximately 20 minutes long and is divided into three movements. The movements are distinct from each other, but are related through various elements. Incorporating electronic processing and live performance can be cumbersome. The primary objective of this piece is to use electronic processing in a manner that liberates the performers from any restrictions imposed by the use of electronic processing. The electronic processing in the work is accomplished through the program MAX/Msp, a real-time digital signal processing environment. The patch that was created for this piece is called MOO-V. This paper discusses the both the technical details in the construction of this patch, and the aesthetic it serves.
Contributing Partner: UNT Libraries
Never Odd Or Even: Using Temporal Structures In Composing Music For Dance

Never Odd Or Even: Using Temporal Structures In Composing Music For Dance

Date: May 2012
Creator: Bernardo, Daniel
Description: This study engages the collaboration of dance and music, focusing primarily on experiences in the production of a large scale collaborative concert entitled Never Odd or Even. Famous historical collaborations offer archetypal collaborative models, the more unconventional of which are applied to the pieces of the concert. Issues and observations regarding cross-influence, project evolution, and application of the collaborative models are engaged to determine effective means of collaboration given different circumstances. The key focus of the study, the temporal relationship between music and dance, is explored in great detail to determine three models for relating time between music and dance. These temporal relationship models are applied to the pieces and evaluated on effectiveness and potential strengths when applied to dance.
Contributing Partner: UNT Libraries
This Creature, Bride of Christ

This Creature, Bride of Christ

Date: May 2010
Creator: Bober, Nicholas Bradburn
Description: This Creature, Bride of Christ is a composition for soprano, alto flute, viola, marimba, and computer running custom software for live interactive performance in the Max/MSP environment. The work is a setting of excerpts from The Book of Margery Kempe, an early autobiographical manuscript depicting the life of a Christian mystic. The thesis discusses the historical, sociological, and musical context of the text and its musical setting; the use of borrowed materials from music of John Dunstable, Richard Wagner, and the tradition of change ringing; and the technologies used to realize the computer accompaniment. A score of the work is also included in the appendix.
Contributing Partner: UNT Libraries
Clockwork Plums

Clockwork Plums

Date: May 2004
Creator: Bradford, Joshua
Description: Based on a story by Joshua Forehand with additional lyrics by Joshua Bradford, Clockwork Plums is an original musical work that integrates techniques and ideas from composers and different cultures. The accompanying essay about the work includes a summary of the story, "Clockwork Plums," some historical background covering 30 years of pop music, an analysis focusing on the use of African and Reichian compositional devices, and discussion about controlled improvisation and use of the voice as compositional tools. The music consists of three sections scored for 5 voices (lead male vocalist and SATB), flute (doubling tenor saxophone), Bb clarinet (doubling baritone saxophone), violin, cello, piano, electronic keyboard, electric guitar, electric bass, drum set, and percussion.
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Loose Id for Orchestra

Loose Id for Orchestra

Date: August 1996
Creator: Bryant, Steven 1972-
Description: Loose Id, scored for orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets in B-flat, B-flat contrabass clarinet, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B-flat, 2 trombones, 1 bass trombone, tuba, timpani, percussion (3 parts), violin I, violin II, viola, violoncello, and contrabass), is an abstract realization in sound of the energy of the Id. Unleashed, without the counterbalance of Ego or Superego, the Id generates unbridled instinctual energy, resulting in an orgiastic frenzy. Distinct from a state of dementia, this piece represents a thoroughly lucid and intentional rampage of self-indulgence. The accompanying essay examines the underlying structural principles of Loose Id, focusing on how they aid the creation of the overall experience of the piece. Particular attention is given to the concepts of linearity and nonlinearity and their roles in different levels of creative and listening processes.
Contributing Partner: UNT Libraries
RevealingReveilingReveling

RevealingReveilingReveling

Date: May 2005
Creator: Colaruotolo, John
Description: This thesis explores the possibilities of communication in the context of a sound composition. In RevealingReveilingReveling, a series of questions concerning communication posed by John Cage, coupled with an extension of those questions posed by myself, are set to recorded sounds-in-the-world. The intention is to create a greater awareness of that which there is to listen in our world. The first part of this essay discusses influences of philosophical thought during the process of composing RevealingReveilingReveling. Two distinct twentieth-century thinkers that have impacted the creation of this piece and their areas of thought are Martin Heidegger: language and Being; and John Cage: sound, silence, and awareness. The second part of the essay is a structural analysis of the piece, discussing the recording of Cage's questions, sounds-in-the-world, sound-manipulation techniques and thought-processes, as well as periodic mention the aesthetic decisions made.
Contributing Partner: UNT Libraries
Breaking Through: A Composition for Symphony Orchestra

Breaking Through: A Composition for Symphony Orchestra

Access: Use of this item is restricted to the UNT Community.
Date: August 2002
Creator: Dribus, John Alexander
Description: Breaking Through is a single-movement composition for symphony orchestra based on a fourteen-note melody. Every harmonic and melodic figure except the bass line is derived from this source melody. The structure of the work is based on a number of musical dichotomies that work on both local and large-scale levels. The local dichotomies contrast consonance with dissonance and ambiguity with clarity (in respect to texture and rhythm). The dichotomy of two-part form versus three-part form and the dichotomy of simplicity versus complexity operate on the large scale. The unity lended by the single source melody coupled with the contrasts furnished by the aforementioned dichotomies allow Breaking Through to be both coherent and interesting.
Contributing Partner: UNT Libraries
Fractus I for Trumpet in C and Electronic Sound: A Critical Examination of the Compositional Process

Fractus I for Trumpet in C and Electronic Sound: A Critical Examination of the Compositional Process

Date: May 2010
Creator: Fieldsteel, Eli Mulvey
Description: Fractus I is a composition for trumpet in C and live electronic sound. The electronics were primarily created using SuperCollider, an environment and programming language for real time audio synthesis. This project investigates SuperCollider's pattern and task functionality as a means of supporting and enriching the compositional process. Fractus I develops several different code architectures in order to randomize as well as synchronize various musical elements. The piece exploits SuperCollider as both an audio synthesis tool and a performance conduit. Additionally, the nature of SuperCollider's patterns and tasks influences the form and content of the composition. The project underscores SuperCollider as a powerful, versatile and open-ended tool for musical composition and examines future directions and improvements.
Contributing Partner: UNT Libraries
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