You limited your search to:

  Partner: UNT Libraries
 Degree Discipline: Music Theory
 Collection: UNT Theses and Dissertations
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
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
Sibelius's Seventh Symphony: Genesis, Design, Structure, and Meaning

Sibelius's Seventh Symphony: Genesis, Design, Structure, and Meaning

Date: May 2004
Creator: Pavlak, F. William
Description: This study explores Sibelius's last and, perhaps, most enigmatic Symphony from historical (source-critical), Schenkerian, and transtextual perspectives. Through a detailed study of its genesis, musical architecture, and meaning, the author maintains that the Seventh, its composer, and its generative process, can best be understood as a series of verges: conceptual points of interaction between two or more forces. Verges between Sibelius's nature mysticism and the dramatic biographical circumstances of the period (1914-1924), between inspired and reasoned modes of composition, between genres (symphony and fantasy), between various form types, between tragic despair and hopeful yearning, between innovation and classicism, and between a host of other seeming oppositions, all define the Seventh Symphony and illuminate various facets of the composer's life and thought.
Contributing Partner: UNT Libraries
Functions of Quotations in Steven Stucky's Oratorio August 4, 1964 and Their Placements within the Context of a Quotation Continuum:  Cultural, Commentary, Remembrance, and Unity

Functions of Quotations in Steven Stucky's Oratorio August 4, 1964 and Their Placements within the Context of a Quotation Continuum: Cultural, Commentary, Remembrance, and Unity

Date: May 2011
Creator: Davenport, Jennifer Tish
Description: The oratorio August 4, 1964 is a twelve-movement work for orchestra, chorus, and four soloists written by Steven Stucky. The premise for the libretto, adapted by Gene Scheer, is the confluence of two events during one day (August 4, 1964) in the life of Lyndon B. Johnson. Although the main idea of the libretto focuses on these two events of this one day, many cultural references of the 1960's in general can be found as well, such as quotations from the well-known song "We Shall Overcome." Stucky borrows from a motet he wrote in 2005 for another quotation source utilized in this oratorio, "O Vos Omnes." My goal in this thesis is to reveal and analyze the many different levels of quotations that exist within August 4, 1964, to explore each quotation's individual function within the oratorio (as a cultural gesture, commentary or remembrance), and to examine the structural coherence that emerges as a result of their use within the oratorio.
Contributing Partner: UNT Libraries
Keyboard Innovation: Harry Partch's Contributions

Keyboard Innovation: Harry Partch's Contributions

Access: Use of this item is restricted to the UNT Community.
Date: August 2000
Creator: Koh,Wee Lay
Description: "Harry Partch's Keyboard Innovation" is a computer-assisted demonstration that introduces the tuning system used primarily by the twentieth-century American composer, Harry Partch. The multimedia product was developed in Director 6.0, and it includes sound and video clips from CDs and videocassettes of Partch's works produced by Phillip Blackburn and distributed by the American Composers Forum. The content of the demonstration involves a 43-tone microtonal tuning system and its application in the music literature. This demonstration will discuss the chronological order in which these prototypes were developed and also includes samples of the tuning of notes in Partch's scale that the novice can experiment with interactively. These tones were synthesized using the Csound scores shown in Appendix B. Materials for this demonstration are based on Harry Partch's Genesis of a Music.
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
Begleitungsmusik zu einer Lichtspielszene, Op. 34: Evidence of Arnold Schoenberg's  musikalische Gedanke

Begleitungsmusik zu einer Lichtspielszene, Op. 34: Evidence of Arnold Schoenberg's musikalische Gedanke

Date: May 2004
Creator: Fukuchi, Hidetoshi
Description: Composition for Arnold Schoenberg is a comprehensible presentation of a musical idea (musikalische Gedanke); the totality of a piece represents the idea. For tonal works, he defines Gedanke as a process of resolving the "tonal relation" or "tonal problem." Contrary to the numerous tonal examples illustrating the notion of Gedanke, Schoenberg hardly expounds on the Gedanke principle for his atonal and twelve-tone repertoires. This study reevaluates Schoenberg's compositional philosophy and aesthetics including Gedanke, comprehensibility, Grundgestalt, and developing variation in light of his compositional practices in Begleitungsmusik zu einer Lichtspielszene, Op. 34. Although Schoenberg denies the existence of a tonal problem and hierarchy among pitches in twelve-tone compositions, the registral placement found in Op. 34 indicates certain functionality assigned to each pitch-class, producing a sense of "departure and return." The approach here elucidates the "idea" of Op. 34, in which the large-scale formal organization unfolds through contextually emphasized tonal relations. This study also explores Schoenberg's concept of the multi-dimensional presentation of a musical idea. Even though Schoenberg's discussion of musical coherence is usually limited to the immediate musical surface, I believe that he was also aware of an extended realization of foreground motives in the sense of Heinrich Schenker's "concealed motivic ...
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
X, An Analytical Approach to John Chowning's Phoné

X, An Analytical Approach to John Chowning's Phoné

Date: May 2010
Creator: Krämer, Reiner
Description: The analysis of computer music presents new challenges to the field of music theory. This study examines the fixed media composition Phoné by John Chowning from its aesthetic perspective, compositional theory and computer sound synthesis techniques. Fast Fourier Transform analyses are used to create spectrograms. The findings from the spectrograms are juxtaposed with compositional philosophies of John Chowning, Jean-Claude Risset, Pierre Schaeffer and Arnold Schoenberg and the techniques are represented via PureData patches.
Contributing Partner: UNT Libraries