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 Department: College of Music
 Collection: UNT Theses and Dissertations
Establishing Editorial Principles to Create a Performance Edition of Selections From Appunti Op 210 By Mario Castelnuovo-tedesco

Establishing Editorial Principles to Create a Performance Edition of Selections From Appunti Op 210 By Mario Castelnuovo-tedesco

Date: May 2012
Creator: Lee, Chris
Description: This paper examined editorial methods used in producing published versions of the music of Mario Castelnuovo-Tedesco (1895-1968). From this examination, I established some editorial principles to create a performance edition of five movements from book two of Castelnuovo-Tedesco’s Appunti op. 210. This paper includes a discussion of the sources and methods used in establishing editorial criteria. at the request of the Milanese guitarist Ruggero Chiesa (1933-1993), Castelnuovo-Tedesco set out to create a collection of didactic pieces for young guitarists. the pieces were to be collaboratively edited and fingered by Chiesa, and then given final approval by the composer. Unfortunately, the composer died before finishing the work. the pieces and sketches that survive exist in four volumes published by the Italian house, Suvini Zerboni, containing the pieces that Chiesa edited with the approval of Castelnuovo-Tedesco. the published edition also includes unedited pieces that did not undergo the collaborative process. with the goal of maintaining an unadulterated portrayal of the composer’s intentions, Chiesa presented these pieces as they appear in the manuscript. Much of the music is unidiomatic and either impossible or highly impractical to play. My study established some editorial principles for use in creating a performance edition of this work. ...
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The Collective Pedagogy Utilized By the Trombone Instructors at the Rotterdam Conservatory of the Netherlands

The Collective Pedagogy Utilized By the Trombone Instructors at the Rotterdam Conservatory of the Netherlands

Date: May 2012
Creator: Wallace, Noel James
Description: The Collective Pedagogy Utilized by the Trombone Instructors at the Rotterdam Conservatory of the Netherlands offers a comprehensive study of the collaboration between the various instructors of the trombone studio within the Rotterdam Conservatory and their pedagogical approach to curriculum, lesson structure, grading process, student body, and social environment. the Rotterdam Conservatory has produced some of the finest trombonists in the global music community. Alumni from the conservatory consistently win positions in professional ensembles, succeed in national and international competitions, and are often featured artists at international music festivals. the success of their alumni warrants closer scrutiny of the pedagogical approach utilized by the faculty of the conservatory.
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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.
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The Chopin Etudes: a Study Guide for Teaching and Learning Opus 10 and Opus 25

The Chopin Etudes: a Study Guide for Teaching and Learning Opus 10 and Opus 25

Access: Use of this item is restricted to the UNT Community.
Date: December 2011
Creator: Kim, Min Joung
Description: The etudes of Chopin are masterworks of the piano literature and are designed to go beyond mere technical exercises; moreover, each etude represents not only a technical study but also has a distinct musical character. Alarmingly, the current trend seems to be to assign the Chopin etudes at an increasingly young age to students who are not yet equipped either technically or musically to handle them. As Chopin’s pupil, Carl Mikuli, commented in the preface to his Chopin edition, the etudes were meant for “more advanced students.” If Chopin had intended his etudes for students at an intermediate level, he would have assigned them to most of his students; however, only a limited number of students had his permission to work on their master’s etudes. As a teacher, I have always felt the need to devise a systematic teaching plan to guide students to handle the challenges of these pieces both physically and musically. This study examines the repertoire which might help prepare a student to learn the etudes without overstraining his/her muscular and mental ability. Rooted in Chopin’s teaching and his recommendation of the pieces to learn before tackling the etudes themselves, this pedagogical study guide intends to help ...
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Reviewing Commercial Music Resources: a Guide for Aspiring Singers and Vocal Professionals

Reviewing Commercial Music Resources: a Guide for Aspiring Singers and Vocal Professionals

Date: May 2012
Creator: Hanlon, Susan Christina
Description: Contemporary commercial music is a broad label used to describe the styles of popular music including pop, rock, rhythm and blues, jazz, hip-hop, country and heavy metal. the vocal ability required for each of these genres varies greatly but may require the use of screaming, belting, utilizing vocal fry and growling or singing with a breathy or dark tone. Singers who wish to perform in these genres may need assistance with vocal technique to assure the longevity and the quality of their singing. Due to the rise in popularity and the accessibility of contemporary commercial music (CCM), commercial pedagogical guides and self-study manuals are abundantly available for purchase. Aspiring singers are searching for appropriate training for this genre without having an awareness of how the voice works and how to maintain good vocal hygiene. Those who seek out private instruction are often frustrated when traditional classical training techniques are offered, rather than techniques utilizing CCM styles. Because CCM pedagogy is relatively new and few pedagogues in this specialized field are well known, the self-taught singer is responsible for finding a reliable study source. Many vocal instructors and choral directors are interested in familiarizing themselves with new stylistic techniques to enhance ...
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From Ritual to Art in the Puritan Music of Colonial New England: the Anthems of William Billings

From Ritual to Art in the Puritan Music of Colonial New England: the Anthems of William Billings

Date: August 2012
Creator: Dill, Patrick W.
Description: The manner in which Billings’s music contrasts with the Puritan musical ideal clearly demonstrates his role in the transition from ritual to art in the music of eighteenth-century New England. The tenets of Puritan worship included the restriction that music should serve primarily as a form of communal prayer for the congregation and in a secondary capacity to assist in biblical instruction. Billings’s stylistic independence from Puritan orthodoxy began with a differing ideology concerning the purpose of music: whereas Calvin believed music merely provided a means for the communal deliverance of biblical text, Billings recognized music for its inherent aesthetic worth. Billings’s shift away from the Puritan musical heritage occurred simultaneously with considerable change in New England in the last three decades of the eighteenth century. A number of Billings’s works depict the events of the Revolutionary War, frequently adapting scriptural texts for nationalistic purposes. The composition of occasional works to commemorate religious and civic events reflects both the increase in society’s approval of choral music beyond its nominal use in worship, both in singing schools and in choirs. With his newfound independence from Puritan ritual, Billings seems to have declared himself one of the United States of America’s first ...
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Music of the Spheres: Astronomy and Shamanism in the Music of Urmas Sisask

Music of the Spheres: Astronomy and Shamanism in the Music of Urmas Sisask

Date: August 2012
Creator: Edmonds, David Michael
Description: In 1619, Johannes Kepler published his magnum opus Harmonices mundi in which the astronomer derived distinct pitches and scales for each known planet in the solar system from calculations of various aspects of their orbital motions. This was the first theoretical realization of the ancient tradition of musica universalis (also called musica mundana), or music of the celestial bodies. It was not until the Estonian composer Urmas Sisask (b. 1960) began his compositional career by deriving his own “planetary scale,” however, that the theoretical musica universalis came into audible existence. Sisask’s work represents a distinctive musical voice among today’s choral composers, and although he is steadily gaining attention for his unique compositional style, only limited information exists about the specifics of his background, his interest in astronomy and shamanism, and the subsequent influence these interests have had on his choral music. At once traditional and modern, he bridges the gap between ancient Estonian folk song and the present. Through an application of exotic techniques including extreme repetition, ritualistically driving rhythms and sudden changes in timbre and texture; coupled with his own peculiarly crafted “planetary scale,” Urmas Sisask has created a completely unique body of work which is examined in this ...
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“Sounds for Adventurous Listeners”: Willis Conover, the Voice of America, and the International Reception of Avant-garde Jazz in the 1960S

“Sounds for Adventurous Listeners”: Willis Conover, the Voice of America, and the International Reception of Avant-garde Jazz in the 1960S

Date: August 2012
Creator: Breckenridge, Mark A.
Description: In “Sounds for Adventurous Listeners,” I argue that Conover’s role in the dissemination of jazz through the Music USA Jazz Hour was more influential on an educational level than what literature on Conover currently provides. Chapter 2 begins with an examination of current studies regarding the role of jazz in Cold War diplomacy, the sociopolitical implications of avant-garde jazz and race, the convergence of fandom and propaganda, the promoter as facilitator of musical trends, and the influence of international radio during the Cold War. In chapter 3 I introduce the Friends of Music USA Newsletter and explain its function as a record of overseas jazz reception and a document that cohered a global network of fans. I then focus on avant-garde debates of the 1960s and discuss Conover’s role overseas and in the United States. Chapter 4 engages social purpose and jazz criticism in the 1960s. I discuss Conover’s philosophy on social responsibility, and how his contributions intersected with other relevant discourses on race on the eve of the civil rights movement. I argue that Conover embodied two personas: one as jazz critic and promoter in the United States, and the other as an international intermediary. In chapter 5 I ...
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Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects in Liszt's Hungarian Rhapsodies Nos 6, 10, and 12

Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects in Liszt's Hungarian Rhapsodies Nos 6, 10, and 12

Date: August 2012
Creator: Vidovic, Silvije
Description: Liszt's Hungarian Rhapsodies are uniformly considered highly challenging in terms of technical execution. However, their artistic value is frequently questioned. This dissertation examines the compositional elements that are often overlooked in these virtuoso works, and provides a viewpoint into their interpretative characteristics. Furthermore, it pursues a claim that besides being excellent performance pieces, these works also make an intriguing contribution to Liszt scholarship, and deserve meaningful consideration in terms of their artistic quality. Following the Introduction (Chapter 1), Chapter 2 provides a brief historical perspective of the critical affirmation Liszt the composer encountered from the musical society. It also includes a short background on Liszt's Hungarian Rhapsodies, as well as the general reactions these works evoked from pianists, audiences, and scholars, during the time they were composed to the present day. As the main body of the dissertation, Chapter 3 investigates the three primary compositional concepts found in Rhapsodies Nos. 6, 10, and 12. These concepts are divided into three subchapters: Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects. Each of these subchapters provides explanatory information, as well as some of the most characteristic passages presented.
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“A Metaphor for the Impossibility of Togetherness”: Expansion Processes in Gubaidulina’s First String Quartet

“A Metaphor for the Impossibility of Togetherness”: Expansion Processes in Gubaidulina’s First String Quartet

Date: August 2012
Creator: Stroud, Cara
Description: This thesis illustrates how I hear processes of expansion organizing musical materials in the First String Quartet. By employing a flexible approach to expansion and developing models of wedge and additive expansions beyond the bounds of specific voice-leading or rhythmic augmentation procedures, expansion processes can be understood in each of the varied episodes of the quartet. Gubaidulina’s use of expansion processes, embodied organically in pitch, rhythm, form, and physical space, unifies the episodic materials of the First String Quartet and provides an inevitable conclusion to the work’s loose narrative.
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