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  Access Rights: Public
 Degree Discipline: Composition
 Collection: UNT Theses and Dissertations
Creating Musical Momentum: Textural and Timbral Sculpting with Intuitive Compositional Systems and Formal Design

Creating Musical Momentum: Textural and Timbral Sculpting with Intuitive Compositional Systems and Formal Design

Date: August 2016
Creator: Robin, Bradley G.
Description: This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece, "Phase," including the application of number systems ranging from formal to local levels.
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Tempered Confetti: Defining Instrumental Collage Music in Tempered Confetti and Venni, Viddi, --

Tempered Confetti: Defining Instrumental Collage Music in Tempered Confetti and Venni, Viddi, --

Date: August 2016
Creator: Campbell, Andrew
Description: This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein.
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"Deborah": The Creation of a Chamber Oratorio in One Act

"Deborah": The Creation of a Chamber Oratorio in One Act

Date: May 2016
Creator: Mixter, Mary
Description: In comparing oratorio traits across history, three aspects of oratorio were found to be particularly applicable to the creation of "Deborah: A Chamber Oratorio in One Act." These aspects were: the selection of topic and the creation or adaptation of text; the differences between recitative and aria, in form and function; and the level of stylistic diversity within a given work.
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Compositional approaches within new media paradigms.

Compositional approaches within new media paradigms.

Date: May 2016
Creator: Oliveiro, Mark A
Description: "Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
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The Sound-Poetry of the Instability of Reality: Mimesis in Music, Literature, and Visual Art

The Sound-Poetry of the Instability of Reality: Mimesis in Music, Literature, and Visual Art

Date: May 2016
Creator: Underriner, Charles Francis
Description: This paper uses the concept of mimesis to clarify the debate concerning the representation of reality in music. Specifically, this study defines the audio reality effect and the three main practices of realism as a way of understanding mimetic practices in multiple artistic media, in particular regarding the multimedia works of the "Landscape series." After addressing the historical debates concerning mimesis, this study develops a framework for the understanding of mimesis in sound by addressing the writings of Weiss, Baudrillard, Barthes, Deleuze, and Prendergast and by examining mimetic practices in 19th-century European painting and multimedia performance works. The audio reality effect is proposed as a meaningful translation of Roland Barthes' literary reality effect to the sonic realm. The main trends of realist practice are applied to electroacoustic music and soundscape composition using the works and writings of Emmerson, Truax, Wishart, Risset, Riddell, Smalley, Murray Schafer, Fischman, Young, and Field. Lastly, this study mimetically analyzes "2 seconds / b minor / wave" by Michael Pisaro and Taku Sugimoto and the works of the "Landscape series" in order to demonstrate the relevance of mimesis for understanding current musical practice.
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Ta/v\am: Real-time Audio/video Scrubbing Tools for Analysis of Multimedia and G®¡nd

Ta/v\am: Real-time Audio/video Scrubbing Tools for Analysis of Multimedia and G®¡nd

Date: May 2015
Creator: Tramte, Daniel Albert
Description: tA/v\Am (the Audio/Video Analysis Machine) is an interactive analysis engine optimized for audio/visual mediums, such as film, video games, and music. I designed tA/v\Am to allow users to pace the playback speed of videos containing sub-title style analytical text, without affecting the pitch content of the audio. The software affords writers the opportunity to display the relevant sensory data (i.e., analytical text and sound/visual media) more efficiently than the paper format. It also serves as a flexible medium; the writer may, for example, compress extensive text into a short amount of time, causing the reader to pause or slow down the rate of the video and thus suspending him/her in the sensorial moment which the writer describes. G®¡ND for Alto Saxophone, Percussion & Electronics is an exploration of the tipping point between signal and noise. Through tablature notation, MIR tools, granular synthesis, and the deconstruction of the saxophone, I have assembled a palette of inordinately contrasting sounds and threaded them together based on action profiles obtained by computer assisted analysis. With them, I have set varying physical conditions of friction that dictates whether the sonic energy is to become focused to one resonant point, or distributed equally/randomly throughout the spectrum ...
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The Nothingness of Presence: Sound, Ritual, and Encounter in the Music of Into Your Hands

The Nothingness of Presence: Sound, Ritual, and Encounter in the Music of Into Your Hands

Date: May 2015
Creator: Evans, Eric
Description: The ritual music written for the Compline service of the Liturgy of the Hours, Into Your Hands, is analyzed using an ontological and phenomenological approach, which seeks to answer how such sound/musical phenomena wed to the specific ritual dynamics of Compline in their own right can create a potential for encounter with the Divine. The Jewish philosopher Martin Buber’s understanding of encounter is used to show that the sound/musical phenomena in itself bears similarities with the nature of the Judeo/Christian God, and such a nature is revealed to be both irreducibly non-conceptual as well as an entity that establishes the ontological actuality of one’s being. Studies in the beginnings of humanity at large as well as the beginnings of the individual fetus reveal that an integrated expression of music and ritual can be said to have formed the impetus of such ontological beginnings through encounter. Therefore, one of the first sounds heard in the womb - that of water (or amniotic fluid) - constitutes what may be an archetypal sound of encounter. The phenomenological effects of such an archetype are analyzed in the music of Into Your Hands through topics such as the loss of aural perspective, immersion, dynamic swells, ...
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An Analysis of Du cristal…à la fumée by Kaija Saariaho and Axiom Unearthed, Original Composition

An Analysis of Du cristal…à la fumée by Kaija Saariaho and Axiom Unearthed, Original Composition

Date: May 2015
Creator: Allen, John Clay
Description: Beginning in the 1970s, and aided by the advancement and an increased prevalence of computers, spectral music emerged as an important development in twentieth century music. Spectral composers, as exemplified by Gérard Grisey and Tristan Murail, took the harmonic spectra of sounds as the fundamental materials of composition. The resulting music placed an emphasis on texture and gradually evolving forms. The generation of composers immediately following the spectralists assimilated their techniques into distinct and varying styles. Finnish composer Kaija Saariaho uses spectral techniques to create an aesthetic that generates form and progression from a sound/noise axis. In her piece Du cristal…à la fumée, a number of pendulum and half-pendulum gestures build up texture and form. The accompanying original composition Axiom Unearthed employs similar pendulum gestures and uses spectral techniques to generate melody and harmony in an aesthetic divergent from traditional spectral pieces.
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“Before I Die…”: Original Composition with a Critical Essay Exploring the Techniques of Six Crossover Composers

“Before I Die…”: Original Composition with a Critical Essay Exploring the Techniques of Six Crossover Composers

Date: August 2014
Creator: Trusko, Robert
Description: Candy Chang developed a public art installation where people are given the opportunity to write their answers to "Before I Die I want to ________." in a public space. I created one of these walls in Denton, TX and set it to music in a 12 minutes and 42 second piece titled Before I Die..., which combines elements of South Indian carnatic music, gospel, R&B, jazz fusion, and minimalism. The composition was influenced by the music of several crossover artists Becca Stevens, Michael League (Snarky Puppy), Nico Muhly, Poovalur Sriji, Tigran Hamasyan, and James Blake. Crossover music, fusion, and third-stream are all synonymous terms used to describe music where multiple genres or styles are authentically combined. The purpose of this thesis is to examine the balance of musical elements in crossover works as well as how specific works composed by the artists mentioned have influenced the creation of the Before I Die... piece.
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Violetting Through August’s End (Or the Sunset in Water, the Carillon-chime in Square): an Original Chamber Opera and a Critical Essay on the Trajectory of American Minimalist Opera

Violetting Through August’s End (Or the Sunset in Water, the Carillon-chime in Square): an Original Chamber Opera and a Critical Essay on the Trajectory of American Minimalist Opera

Date: December 2014
Creator: Doyle, James Joseph
Description: When the dust settles, John Adams’s Nixon in China and Philip Glass’s Einstein on the Beach may stand as the most important operas of the latter twentieth century. The critical essay portion of this thesis examines the trajectory of minimalist opera, from its beginnings with Glass’s Einstein on the Beach through the more romantic operas of John Adams, Steve Reich’s multimedia opera The Cave, David Lang’s musical-influenced The Difficulty of Crossing a Field, and finally the post-minimalist operas currently being staged by young composer Nico Muhly. It examines the differences between the more abstract trajectory established by the early Glass operas and the plot driven trajectory established by operas more commonly associated with John Adams, most significantly Nixon in China. Additionally, the aforementioned pieces are compared and contrasted with the author’s newly composed chamber opera Violetting through August’s End (or the sunset in water, the carillon-chime in square).
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Innocents Abroad: The Love Story of Mark Twain and Olivia Langdon

Innocents Abroad: The Love Story of Mark Twain and Olivia Langdon

Date: December 1978
Creator: Pack, Dallan M.
Description: Innocents Abroad, a musical for the stage, deals with events in the life of Mark Twain, 1867-1869, particularly his courtship of Olivia Langdon and his efforts to establish himself as a writer. It emphasizes his struggle to be true to his individuality and outspoken honesty while trying to win "Livy," the product of the society he satirized and often condemned. The book, based on actual events, contains much of Twain's humor and wisdom. The vocal score is written in a contemporary style, for various vocal combinations, including full chorus and includes piano accompaniments and chord symbols for guitar and bass.
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Mass

Mass

Date: August 1985
Creator: Rothe, Eric V. (Eric Vaughn)
Description: Mass is written for large mixed choruswind ensemble consisting of woodwind quartet (flute, oboe, Bb clarinet, and bassoon), brass quintet (two Bb trumpets, F horn, trombone, bass trombone), and recorded digital synthesizer. This setting of the Ordinary is in Latin and includes the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The duration of the work is approximately twenty-seven minutes.
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Kinetico for Chamber Wind Ensemble

Kinetico for Chamber Wind Ensemble

Date: August 1985
Creator: McDonald, Richard F. (Richard Frederic)
Description: This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.
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Symphonic Portrait: The Patriarch

Symphonic Portrait: The Patriarch

Date: August 1984
Creator: Brusick, William R. (William Robert)
Description: This is an analysis for Symphonic Portrait: The Patriarch, which is the first in a trilogy of works each depicting one of the Deities in the Holy Trinity. It is scored for symphonic band consisting of piccolo, two flutes, two oboes, E^b clarinet, three B^b clarinets, alto clarinet, bass clarinet, contrabass clarinet, two alto saxes, tenor sax, baritone sax, two bassoons, three B^b cornets, two B^b trumpets, four F horns, three trombones, euphoniums (div.), tubas (div.), string bass, timpani, eight percussionists playing bells, chimes, vibraphone, xylophone, marimba, snare drum, bass drum, three tom-toms (high, medium, low), suspended cymbal, crash cymbals, two tam-tams (large and medium), triangle, tambourine, vibra slap, steel plate, finger cymbals, bell tree, piano, harp, and organ. The music consists of two major parts; the scenario and the main body. Each part lasts six minutes, giving the work a total duration time of about twelve minutes.
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Land of Dreams

Land of Dreams

Date: December 1983
Creator: Sanders, Greg
Description: LAND OF DREAMS is an opera in one act based on poems by the English poet William Blake. The work is for chamber orchestra, dancers, and an actor, as well as the vocal cast listed below. Cast of Characters Thomas Soprano The Father Baritone The Nurse Alto The Mother Mezzo Soprano The opera divides into eight sections with a total performance time of approximately forty minutes. Each section represents a different stylistic approach to the musical material. This juxtaposing of various styles is reflective of the eclectic nature of the text. The setting is England around 1800, the scene is a child's (Thomas) bedroom. All of the dramatic action takes place in this room in the various stages of the conscious (awake) and unconscious (asleep) states of the child's mind.
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White Dawn Streams

White Dawn Streams

Date: May 1984
Creator: Mitchell, Daniel R.
Description: White Dawn Streams is a composition for orchestra with tape. The orchestra includes woodwinds (flute, oboe, clarinet, bassoon), brass (horns(2), trumpets(2), trombone, tuba), percussion (timpani, bass drum, snare drum, tom-toms, timbales, temple blocks, suspended cymbal, triangle, xylophone), and strings. The tape was produced using a Synclavier digital synthesizer. The work consists of a single movement approximately eleven minutes in duration. The pitch materials in the work are derived from a single series of pitches and are used in a contrapuntal texture.
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A New Song

A New Song

Date: December 1983
Creator: Remley, Rebecca D. (Rebecca Danner)
Description: A New Song is a sacred contata in four parts written for mixed chorus, soloists, narrator, congregation, and chamber ensemble consisting of organ, brass ensemble, and percussion. It is designed to be performed within the limitations of a church sanctuary. The text is taken from the New American Standard Version of the Bible. The four parts are based on prophecies found in the book of Isaiah and the fulfillment of these prophecies as found in the New Testament books of Matthew, Luke, and John. The texture and orchestration throughout the contata change according to the mood of the text. For practical performance purposes, vocal parts are based on traditional harmonic, melodic, and rhythmic patterns, leaving the more complex patterns to the instrumental parts.
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Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble

Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble

Date: August 1986
Creator: Chapman, Davis Howard
Description: Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.
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Forever's Silent Song for Chamber Orchestra and Mezzo-Soprano

Forever's Silent Song for Chamber Orchestra and Mezzo-Soprano

Date: August 1986
Creator: Webb, Lisa A. (Lisa Ann)
Description: This work is a setting of two poems by E.E. Cummings for chamber orchestra and mezzo-soprano soloist. The approximate durations of the first and second movements are respectively seven and one half, and six minutes. The music was inspired by the poetry and attempts to highlight the cyclic syntax which hallmarks Cummings' style. The first poem ("pity this busy monster, manunkind,") presents a sarcastic analysis of the progress of society. The compositional techniques used in the first movement involve elements of ostinato and fragmented motivic development to punctuate the penetrating message of the poem. The second movement ("these children singing in stone a") offers a marked contrast in texture and is a peaceful resolution to the agitated frustration of the first poem. Chromaticism is an essential element in defining the melodic and harmonic style. The vocal writing is largely declamatory and presents the vocalist with challenges of tessitura, intervallic complexity and extended technique.
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Hymns to Inanna

Hymns to Inanna

Date: May 1986
Creator: Quate, Amy
Description: The poetry of Sumer, inscribed in cuneiform script on clay tablets dating from 2000 B.C., is considered humanity's earliest written literature. Hymns To Inanna is a three-movement, mixed media work based on adapted English translations from ancient Sumerian text. The text is sung by SATB choir and musically illustrated by harp, flutes, percussion, and computer-generated sound (on tape). My musical setting displays these hymns not as a reflection of antiquity but as a timeless expression of spiritual thought. Certain elements of the composition evoke associations with early culture and music. These components, however, are transformed or merged with musical characteristics of other eras, idioms, and forms thus representing a conceptual and stylistic "bridge" between past, present, and future.
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Psalm 23

Psalm 23

Date: December 1985
Creator: Man, Stanlas Ping Kwan
Description: Psalm 23 is a sacred work in four movements, written for women's chorus (SSAA), a tenor solo and a chamber ensemble consisting of flute, oboe, trumpet, percussion, timpani, and string quartet. It is designed to be performed as a portion of a church service or in concert. The text, Psalm 23 from the Bible is sung in Chinese, and the verses of the Psalm are arranged as follows: Movement 1, Verse 1, General musical characteristics: pastoral; Movement 2, Verses 2-3, General musical characteristics: peaceful; Movement 3, Verses 4-5, General musical characteristics: agitated; Movement 4, Verse 6, General musical characteristics: majestic. The form, tonal structure and harmony of each movement are influenced by the characteristics of an original synthetic scale.
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Kidrish Fields

Kidrish Fields

Date: August 1988
Creator: Job, Lynn R. (Lynn Renee)
Description: Kidrish Fields, a pastoral fantasy, is scored for seven flutes, vibraphone, and cello. The duration of the work is eighteen minutes. The 62 pages which precede the musical score present a discussion and an analysis of the composition. The purpose of this project was to provide the composer an opportunity to apply polyphonic writing techniques within a score orchestrated for an ensemble of like instruments.
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Concertino for Tuba, Winds, and Percussion

Concertino for Tuba, Winds, and Percussion

Date: August 1985
Creator: Potter, David
Description: Concertino for Tuba, Winds, and Percussion is a work for solo tuba and an ensemble consisting of two flutes, two oboes, two clarinets, bass clarinet, bassoon, four horns, two trumpets, two trombones, bass trombone, and three percussionists. The percussionists play small, medium, and large suspended cymbals, triangle, tam tam, metal wind chimes, five tom toms, snare drum, tenor drum, bass drum, two sets of two timbales, five temple blocks, maracas, glockenspiel, vibraphone, chimes, xylophone, marimba, and five timpani. The three movements of the work follow the arrangement of the standard concerto format (fast-slow-fast). The lengths of the movements are approximately four minutes and fifteen seconds, two minutes and twenty-five seconds, and four minutes and ten seconds respectively. The total duration of Concertino is about eleven minutes.
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Sinfonia

Sinfonia

Date: August 1986
Creator: McBride, Michael A. (Michael Anthony)
Description: Sinfonia is a two movement work for chamber string orchestra and percussion consisting of at least five violins I, five violins II, five violas, five cellos, three string basses, and three percussionists playing timpani, two suspended cymbals, one small crash cymbal, 2 triangles, tambourine, woodblock, five temple blocks, snare, two tom-toms, 2 glockenspiels, xylophone, and chimes. The first movement is approximately nine minutes long, the second lasts five and one third minutes making a total of approximately fourteen minutes and twenty seconds.
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