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 Department: College of Music
 Collection: UNT Theses and Dissertations
Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra By Ned Rorem: Background, Analysis, and Performance Guide

Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra By Ned Rorem: Background, Analysis, and Performance Guide

Date: May 2012
Creator: Jung, Soohee
Description: The purpose of the document is to present Ned Rorem’s Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra. the eight songs are “To the Sun,” “Sun of the Sleepless,” “Dawn,” “Day,” “Catafalque,” “Full Many a Glorious Morning,” “Sundown Lights,” and “From What Can I Tell My Bones?” the document is divided into four main chapters: 1) Background; 2) Poet and Poem Background; 3) Musical Analysis; 4) Performance Guide. Chapter 1 contains biographical information on Ned Rorem, and basic information of the work, Sun. Here, a relationship between the eight songs is presented. Chapter 2 discusses biography of poet and background of the poem. the poetry is examined to determine the theme and to identify imagery, and metaphor. Chapter 3 offers detailed musical analysis for each of the eight songs and interludes. Chapter 4 provides performance guide which offers assistance in forming personal interpretation and brief specifies to singers who wish to perform this work. Appendix a includes tonality, difficulty, tempo, form, theme, range, and orchestration of each song and interlude. This study serves as a reference guide for performers of Sun.
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Supplemental Studies for Mastering Extended Techniques in Three Late Twentieth-Century Works for Solo Trombone: Luciano Berio's  Sequenza V, Folke Rabe's  Basta and Mark Phillips'  T. Rex, Together with Three Recitals of Selected Works by Wagenseil, Grøndahl, Gotkovsky, and Others

Supplemental Studies for Mastering Extended Techniques in Three Late Twentieth-Century Works for Solo Trombone: Luciano Berio's Sequenza V, Folke Rabe's Basta and Mark Phillips' T. Rex, Together with Three Recitals of Selected Works by Wagenseil, Grøndahl, Gotkovsky, and Others

Access: Use of this item is restricted to the UNT Community.
Date: May 2004
Creator: Scott, Deb
Description: Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.
Contributing Partner: UNT Libraries
The Surface: A Synthesis

The Surface: A Synthesis

Date: May 2001
Creator: Willis, Stephen
Description: This paper examines the speech-based musical realization of "The Surface" and its attempt to assimilate the poem at the structural, sonic, and expressive level. The software and analysis/re-synthesis techniques used to create timbres heard in the composition are discussed in detail. In addition to technical and structural issues, the common elements of the two art forms are considered within the context of the digital domain.
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A Survey of Four Original Works for Clarinet and Guitar and Their Effect on Compositional Output for the Repertoire

A Survey of Four Original Works for Clarinet and Guitar and Their Effect on Compositional Output for the Repertoire

Date: May 2013
Creator: Lignitz, Kellie
Description: In the last three decades there has been a surge in original compositions for clarinet and guitar resulting in the repertoire virtually doubling in size. However, documentation and research of original works in published sources remains limited and is quickly becoming outdated. This document reviews the current resources and reviews the newer published materials. Early chamber music works for guitar and clarinet typically required the guitar to supply harmonic support to the clarinet's upper voice, which carried the themes. An examination of the earliest works, which date from the early nineteenth century, suggests, in other words, that the two parts were not treated equally, in contrast to modern-day chamber music, in which melodic elements are proportionally balanced between the two instruments. A critical survey and comparison of four significant works from the repertoire reveals a development toward motivic balance, a progression towards melodic equality that continued in subsequent compositions. The four works surveyed are: Heinrich Neumann's Serenata Svizzera Op.29, Ferdinand Rebay's Sonata for Clarinet and Guitar No.2 in A minor, Libby Larsen's Blue Third Piece, and Gernot Wolfgang's Four Miniatures. An extensive compilation of over 300 original published and unpublished works for clarinet and guitar, bass clarinet and guitar, and ...
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A Survey of the Solo and Chamber Works for Trumpet, Horn, Trombone, Euphonium and Tuba By the Hungarian Composer Frigyes Hidas

A Survey of the Solo and Chamber Works for Trumpet, Horn, Trombone, Euphonium and Tuba By the Hungarian Composer Frigyes Hidas

Date: August 2013
Creator: Gill, Jonathan B.
Description: Hidas composed more than 135 compositions. Of these 135 compositions 67 feature the trumpet, horn, trombone, euphonium, and tuba in a solo setting, a homogenous chamber setting, or a heterogeneous chamber setting. The first section of this project presents the significance of the topic, state of research, and methodology. Chapter one provides a narrative detailing the collaboration of Hidas with Gusztáv Höna and László Szabó, Sr. Chapter two provides a brief description of characteristics found in Hidas' compositions. Appendix A and B provides a survey of the 67 works for brass instruments that Hidas composed. Included in this survey is information pertaining to the title, editor, publisher and date of publication, total measures, duration, ranges, degree of difficulty, clefs, special effects/techniques, instrumentation, dedications, analytical information, general comments, recordings, and rental details.
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Susan Botti's  Cosmosis: A Conductor's Analysis with Performance Considerations

Susan Botti's Cosmosis: A Conductor's Analysis with Performance Considerations

Date: May 2007
Creator: Schroeder, Angela
Description: In 2005, composer Susan Botti won the coveted Prix de Rome in musical composition and spent eleven months in residency at the American Academy in Rome. That same year, the University of Michigan Wind Symphony, under the direction of Michael Haithcock, premiered her exciting new work Cosmosis at the College Band Directors National Association Conference in New York City. The bi-annual conference is a venue for the premiere of new works for wind ensembles and bands, and the 2005 conference saw the world premiere of nine works for winds and percussion, many of which were performed in the legendary Carnegie Hall. What made the debut performance of Cosmosis exciting and notable was the composer's own appearance as soprano soloist, and the inclusion of a chorus of women augmenting the ensemble of winds and percussion. Such a combination of elements is unique, and created a fresh and powerful sonority. Botti's inventive approach to composition has expanded the repertoire for both women's chorus and wind ensemble with this distinctive work. This study is intended to serve as a guide to the study and performance of Cosmosis. The information provides a detailed examination of the work from its conception to its premiere performance. ...
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Symmetrical Features of Nikolai Medtner's Language: The Grzovaya Sonata, Opus 53 No. 2

Symmetrical Features of Nikolai Medtner's Language: The Grzovaya Sonata, Opus 53 No. 2

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Date: December 1999
Creator: Pitts, James L.
Description: Nikolai Medtner's works evidence an intense interest in symmetrical designs. This concern is manifest at all levels, from the large scale proportions of his numerous ingenious sonata forms to the symmetrically constructed themes and motives. Medtner's works include several instances of palindromic themes and periods. Some palindromic contours are achieved through immediate inversion, creating expansive, symmetrical waves. One of Medtner's thumbprints, symmetrical contrary voice-leading, consists of two or more voices which systematically expand or contract in exact mirror fashion. The contrary movement is usually stepwise, and may be either chromatic or diatonic. Occasionally even larger intervals, such as thirds and fourths, are subjected to this favourite mirroring technique. Such symmetrical expansion and contraction often controls the harmonic progression of several consecutive bars. One of the most striking aspects of Medtner's music is his sophisticated harmonic language. He was fascinated with symmetrical harmonic designs, such as the tritone, the French sixth chord, and the octatonic scale, and made endless and increasingly intricate explorations into these stuctures and the ways in which these apparently nontonal, non-hierarchical forms could be coordinated with the fundamental hierarchy of asymmetrical tonal forms, including triads, major and minor scales, and tonic-dominant relations. Medtner's late work, the Grozovaya ...
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Symphonic Fantasia  Han-Kook Oui Ja-Yeon (Nature in Korea): Score and Critical Commentary

Symphonic Fantasia Han-Kook Oui Ja-Yeon (Nature in Korea): Score and Critical Commentary

Date: August 2004
Creator: Han, Sang-Eun
Description: The Symphonic Fantasia Han-Kook oui Ja-Yeon (Nature in Korea ) is a single-movement orchestral piece, which is divided into 5 characteristic sections - each section has programmatic subtitles (Rocks, River, Sea, Wind, and Mountain) and its own idée fixe motive. The degree of texture (homophonic/polyphonic), dynamics (strong/weak), density (thick/thin), velocity (fast/slow), and orchestration (emphasizing various sections of the orchestra) is determined by depiction of the subtitles. The critical commentary of the Symphonic Fantasia Han-Kook oui Ja-Yeon (Nature in Korea ) includes a discussion of form, pitch content (melodic and harmonic), and texture of the piece. The commentary also includes a discussion of the use of programmatic subtitles (Rocks, River, Sea, Wind, and Mountain) and depiction of these concepts in the orchestration of the work. A comparison with other orchestral works is added for explanation and support of the composer's concept. Some of the other composers who are discussed in this paper include Richard Strauss (Alpine Symphony), Gustav Holst (The Planets), Frank Bridge (The Sea), Aaron Copland (Billy the Kid), and Joseph Klein (Pathways: Interior Shadows).
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Syncretisms for wind quintet and percussion: A study in combining organizational principles from Southeast Asian music with western stylistic elements.

Syncretisms for wind quintet and percussion: A study in combining organizational principles from Southeast Asian music with western stylistic elements.

Date: May 2008
Creator: Seymour, John
Description: Syncretisms is an original composition scored for flute, oboe, clarinet, horn, bassoon, and marimba (2-mallet minimum, 4 recommended) with an optional percussion part requiring glockenspiel and chimes, and has an approximate duration of 6 min. 45. sec. The composition combines modern western tuning, timbre, and harmonic language with organizational principles identified in music from Southeast Asia (including music from cultures found in Thailand, Cambodia, Malaysia, and Indonesia). The accompanying paper describes each of these organizational principles, drawing on the work of scholars who have performed fieldwork, and describes the way in which each principle was employed in Syncretisms. The conclusion speculates on a method for comparing musical organizational systems cross-culturally.
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Systematic Composition and Intuition in a Concerto for Organ and Orchestra

Systematic Composition and Intuition in a Concerto for Organ and Orchestra

Date: August 2003
Creator: Worlton, James Timbrel
Description: Historically, composers have used methods in addition to inspiration in writing music. Regardless of the source materials they used, composers ultimately rely on their musical sensitivity to inform the compositional decision-making. Discuses the rotational aspects of decimals that are created from certain prime-number denominators, and focuses on the prime number 17. Shows how these decimals can be transformed by converting them to different number bases. Looks at the Golden Proportion and its use in creating formal structures. Examines compositional and aesthetic issues arising from using number series to generate the pitches, rhythms, and sections in the Concerto for Organ and Orchestra. This process of composition reveals musical gestures that may not have been discovered using more intuitively based approaches to composition. Shows how musical sensitivity was necessary in shaping the numerically derived material in order to create aesthetically satisfying music.
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