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 Degree Discipline: Composition
 Collection: UNT Theses and Dissertations
jn4.gesture: An interactive composition for dance.

jn4.gesture: An interactive composition for dance.

Date: May 2003
Creator: Holmes, Douglas B.
Description: jn4.gesture is an interactive multimedia composition for dancer and computer designed to extend the possibilities of artistic expression through the use of contemporary technology. The software produces the audiovisual materials, which are controlled by the movement of the dancer on a custom rug sensor. The software that produces the graphic and sonic material is created using a modular design. During run-time, the software's modules are directed by a scripting language developed to control and adjust the audiovisual production through time. The visual material provides the only illumination of the performer, and the projections follow the performer's movements. The human form is isolated in darkness and it remains the focal point in the visual environment. These same movements are used to create the sonic material and control the diffusion of sound in an eight channel sound system. The video recording of the performance was made on April 22, 2002. The work was produced in a specialized performance space using two computer projectors and a state of the art sound system. Arleen Sugano designed the costumes, choreographed and performed the composition in the Merrill Ellis Intermedia Theatre (MEIT) at the University of North Texas. The paper focuses on the design of the ...
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Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments

Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments

Date: May 2008
Creator: Figg, Graham Elliot
Description: For a composer of today, the relationship between new music and music from many centuries past remains problematic. In order to create something new, it is necessary to go beyond previous techniques of composition in some way. At the same time, new music that has no connection with music of the past runs the risk of irrelevance. Just tuning offers one possibility for reconciling this problem. By effectively warping music of the past through the lens of altered tuning and contemporary composition techniques, music of the past may be understood in previously unknown ways. Part I, the critical essay, presents historical background and analysis of a cycle of three works in altered/just tuning. Part II presents scores of the works.
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Latin Mass for Choir, Orchestra, Soprano and Mezzo-Soprano Soloists

Latin Mass for Choir, Orchestra, Soprano and Mezzo-Soprano Soloists

Date: May 2003
Creator: Bonneau, Paul G.
Description: The Latin Mass is a musical composition in five movements, scored for large choir, standard orchestra, and two soloists. The movements are the standard parts of the Roman Catholic Mass Ordinary. The language is set mainly in Latin with two exceptions: the Kyrie movement is set in Greek (which is the standard Roman Catholic setting), and the Credo is simultaneously recited in English and sung in Latin. The work is scored using conventional notation techniques and employs rather conservative technical demands on both the choir and orchestra. No extended techniques are required of any of the performers. It is set in a modal harmonic language.
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The Light, for Two Narrators and Chamber Ensemble

The Light, for Two Narrators and Chamber Ensemble

Date: May 2003
Creator: Feezell, Mark Brandon
Description: The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. ...
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Memento mori: Concert for Violoncello and Orchestra

Memento mori: Concert for Violoncello and Orchestra

Access: Use of this item is restricted to the UNT Community.
Date: December 2006
Creator: Fakhouri, Fouad K.
Description: Death, as a subject, has been treated extensively throughout history, both in literature as well as in music. The focus of Memento mori is to portray the inevitability of death through music. The first part of the document is an essay exploring the topic of death, its inevitability, unpredictability and the fragility of life. This section also includes a number of examples of composer's whose works have influenced the composition of the piece. The title of the work is meant to reflect that death catches up with all of us and that humans no matter how invincible they feel at certain stages of life will, eventually, succumb to death. The second part of the document is the notated orchestral score. The work is for full orchestra and solo violoncello. It is in three acts that loosely resemble three stages of life; Youth followed by life in adulthood and finally death. The work is not programmatic and the piece's formal structure varies from a traditional concerto, for although comprised of three distinct acts, there are no pauses between them. The entire work is meant to be dark and morbid and the specter of death looms throughout the piece.
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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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Now All the Fingers of This Tree

Now All the Fingers of This Tree

Date: May 2003
Creator: Wood, Kelly Thomas
Description: Now All the Fingers of This Tree is a work in two movements based upon a poem of the same name by E. E. Cummings. It is divided into two movements: The first movement is scored for nine part solo soprano, where one performer records each of the nine vocal lines. The second movement is an electro-acoustic work derived from four phrases of the original recording of the first movement. Total duration of the work is approximately 19 minutes. The paper provides a detailed analysis of both movements as well as a discussion on usage of text, problems addressed with traditional notation techniques, and technology utilized in the production of the work.
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Ocean of Forms: for Soprano and Computer

Ocean of Forms: for Soprano and Computer

Date: May 2012
Creator: Price, Lee Scott
Description: Ocean of Forms is a cycle of five songs for solo soprano voice and electronic/computer music accompaniment on poems by noted Bengali poet, musician, philosopher, and author Rabindranath Tagore. This work approaches the song cycle as a vehicle for expressing and highlighting the poet's words. Word and syllabic stress, text painting, melodic development, and formal structure all function in relation to the text and its meaning. the replacement of the traditional piano accompaniment with electronic accompaniment provides further possibilities for new timbral structures and transformations, expressive microtonal intonation, algorithmic and aleatoric formal structures, acousmatic and spatialized sound, and a broad sonic palette. This work strives to provide a more fully developed expression of the text as afforded by these expanded musical means. the critical essay primarily explores the interaction between text and music in the work. the first chapter explores the historical precedents for the genre of the song cycle and other texted music as well as specific influences on the work. the following chapters explore the connections between the text and the vocal line and electronic/computer music, respectively. the final chapter deals with the formal structure of the work, especially the justly-tuned harmonic scheme and its relation to the ...
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Paintings and Palaces, or The Lament of the Burger Flipper

Paintings and Palaces, or The Lament of the Burger Flipper

Access: Use of this item is restricted to the UNT Community.
Date: May 1999
Creator: Salfen, Kevin McGregor
Description: The opera is scored for chamber orchestra consisting of one oboe, two Bb clarinets, two horns in F, one trumpet in C, one tenor trombone, two percussionists (playing snare drum, bass drum, tambourine, wood block, triangle, suspended cymbal, crash cymbal, agogo bells, cow bell, brake drum, metal whistle, whip, large gong, Glockenspiel, chimes, timpani in F (low) and C), eight or more violins in two parts, six or more violas in two parts, and eight or more cellos in two parts. The characters are Alejandro Jiminez, a dramatic tenor; the Manager of Burger Palace, a baritone; the Suits 1/Fast Food Workers, a choir (SATB) and the Suits 2/Customers, a second choir (SATB), each ideally consisting of eight vocalists for a total of sixteen; the Daydream Figures, which are mimed parts; the Man with Gun, which is a spoken part. The opera, in one act consisting of six scenes and an interlude, is based on a libretto by the composer. There is only one scene change: from an essentially empty stage to a fast food restaurant in Scene 4. The length of the work is approximately sixty to sixty-five minutes.
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Persistence: for Wind Ensemble

Persistence: for Wind Ensemble

Date: August 1997
Creator: Rickwood, Christopher M.
Description: Persistence is a composition scored for piccolo, 2 flutes, 2 oboes, English horn, 2 bassoons, E-flat clarinet, 3 1st B-flat clarinets, 3 2nd B-flat clarinets, 3 3rd B-flat clarinets, bass clarinet, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 3 B-flat trumpets, 4 French horns in F, 2 trombones, bass trombone, baritone, tuba, timpani, and 4 auxiliary percussionists. The music consists of three movements, fast-slow-fast, lasting approximately eleven and one-half minutes. The three movements last three minutes and twenty seconds, five minutes and thirty seconds, and three minutes and ten seconds respectively.
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