You limited your search to:

  Access Rights: Public
 Degree Discipline: Composition
 Collection: UNT Theses and Dissertations
Rhapsody for Piano and Small Orchestra

Rhapsody for Piano and Small Orchestra

Date: December 2001
Creator: Ahn-Kim, Yong Hee
Description: Rhapsody for Piano and Small Orchestra is a one-movement composition in a concerto fashion for seventeen players, and is about nine minutes in duration. The overall form of this work is A B C D E D1 C1 B1 A1. This work contains various hidden compositional devices such as the golden section principle and a palindrome structure. These devices are applied not only to the structure of the work, but also to the pitch related and rhythm-related matters. Also, certain melodic and rhythmic cells are employed for each section in the developmental procedure of that section almost exclusively. Since this work is a concerto-like piece, there are two cadenza-like passages for the piano with an accompanying solo instrument, which plays the obbligato passage. The following essay addresses the form, pitch materials, harmony, rhythm and technical difficulties, orchestration, and variant elements between the corresponding sections used in this work.
Contributing Partner: UNT Libraries
A Rhetorical Guide to Ebb

A Rhetorical Guide to Ebb

Date: May 2006
Creator: Zajicek, Daniel James
Description: In the essay A Rhetorical Guide to Ebb I explore the diverse array of influences in art, and music that guided the creation of the composition Ebb, for 13 musicians and electronics. Of those influences, the boxes of the American artist Joseph Cornell played a particularly important role. Having based the conceptual framework for Ebb on ideas taken from Cornell, the essay, instead of being driven by a single thesis, involves the creation of conceptual boxes. These conceptual boxes emphasize the influence of the artist Joseph Cornell, along with the composers Iannis Xenakis and Gérard Grisey. In addition, a time line documenting the stages in Ebb's creation is included.
Contributing Partner: UNT Libraries
Riders to the Sea

Riders to the Sea

Date: December 1993
Creator: Carson, Michael, 1959-
Description: Riders to the Sea is a chamber opera in one act of approximately 40 minutes in duration. The single act is divided into six scenes that progress without pause. The vocal parts are comprised of 2 sopranos, 1 mezzo-soprano, 1 baritone, and an off-stage chorus of men's voices (tenor I, tenor II, baritone, and bass; two per part). The orchestra will be comprised of winds (1-1-1-1-1), brass (2-2-1-1), strings (2-2-2-2-1), piano, 2 percussionists, and tape, that will be used to provide a continuous background of surf and wind sounds. Authentic Irish folk songs are threaded throughout the work, generally functioning as a background element, while twentieth-century compositional techniques are utilized primarily for special effects.
Contributing Partner: UNT Libraries
The Secret Art of Science: An Aural-Based Analysis of Jonty Harrison's Acousmatic Work "Pair/Impair"

The Secret Art of Science: An Aural-Based Analysis of Jonty Harrison's Acousmatic Work "Pair/Impair"

Date: August 2004
Creator: Vega, Henry
Description: This paper observes the problems that impede meaningful analysis of form and structure in modern music, specifically electronic music. The premise of this research is to present methods, tools and practice for analyzing music whose visual interpretation, if any, do not represent the aural result of the composition. The means for suggesting a method are derived from documented observations in aural psychology, as well as composers' writings about musical perception. The result is an analytic model that focuses on the aural experience rather than the composers' compositional strategies which do not always agree with the resultant composition. The results from the analysis of music by Parmegiani, Harvey, Vega and Harrison help prove the general applicability of this research.
Contributing Partner: UNT Libraries
Sinfonietta

Sinfonietta

Date: December 1994
Creator: Au, Siu-ming Stefan
Description: Sinfonietta is a work of about 18 minutes for orchestra with an instrumentation of 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 timpani, percussion, harps, piano and strings. Three players are required for the percussion battery. The work is in four movements: Prelude, Theme and Variations, Largo and Finale. Movement I is in a tri-partite design. In the second movement, the theme is first enunciated by a solo violoncello in its high register followed by seven variations in the orchestra. In Movement III, there are three brief sections plus a longer coda which links to the Finale, the last movement of the Sinfonietta. This movement ends the work with a double fugal section where many of the important features used in the work recur. The movements are made coherent by means of cyclic treatment of the material.
Contributing Partner: UNT Libraries
Snow Spell: An Interactive Composition for Erhu, Flute, Piano, Cello, and Max/MSP

Snow Spell: An Interactive Composition for Erhu, Flute, Piano, Cello, and Max/MSP

Date: August 2007
Creator: Cheng, Chien-Wen
Description: Snow Spell is an interactive composition for erhu, flute, cello, piano, and Max/MSP interactive computer music system. This one-movement piece, Snow Spell, is intended to depict the beauty of a snow scene by presenting four different impressions of snow envisioned by the composer through music. The definition, history, and significance of interactive music are explored. Various modes of interactivity to control signal processing modules, and technical considerations for signal routing and level control in the interactive computer music system are also explored. Chinese music elements in Snow Spell including pentatonic scales, glissandi, and quotations from the Chinese folk tune River of Sorrow are investigated.
Contributing Partner: UNT Libraries
Some Soundwalks (Denton, Tx)

Some Soundwalks (Denton, Tx)

Date: May 2013
Creator: Jackson, Jonathan
Description: some soundwalks (Denton, TX) is an audio portrait of the Denton square - the area in downtown Denton bordered by the streets Oak, Hickory, Elm, and Locust. For three months (June - August, 2012), I went on soundwalks in this area, recording the soundscape and collecting material from each hour of the twenty-four hours of the day. The resulting work is presented as a layered montage of this gathered material that takes the listener on a twenty-four hour journey through the Denton square in about eighteen minutes. Ultimately, this sonic portrait of the Denton square is my subjective reaction to the daily soundscape of an area of Denton that embodies a strong sense of tradition combined with a newer presence of a growing population.
Contributing Partner: UNT Libraries
Song of Pi-Pa

Song of Pi-Pa

Date: August 1994
Creator: Tseng, Yu-Chung, 1960-
Description: Sona of Pi-Pa is a composition set to a poem to be performed by soprano and mixed instrumental ensemble. The formal plan is through-composed and the organization of each individual piece is largely determined by the structure of the poetic text. The text, drawn from Song of Pi-Pa by Po Chu-i, depicts the story of how the poet became overwhelmed by the chance hearing of a virtuosic performance of a woman playing the pi-pa. The general characteristics of the work reflect the assimilation of certain non-western musical and philosophical influences. Traditional western compositional techniques are also employed in the treatment of thematic materials, musical form, instrumentation, and the developmental process. The total performance time for this composition is approximately twenty-six minutes.
Contributing Partner: UNT Libraries
Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements

Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements

Date: December 2010
Creator: Rostovtsev, Ilya Y.
Description: Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.
Contributing Partner: UNT Libraries
Summer Rain Part I Summer Rain - Dawn for Two-channel Tape; Part II After the Summer Rain for Piano and Two-channel Tape

Summer Rain Part I Summer Rain - Dawn for Two-channel Tape; Part II After the Summer Rain for Piano and Two-channel Tape

Date: December 2001
Creator: Kawamoto, Hideko
Description: This dissertation contains five chapters: 1. Introduction, 2. Basic Digital Processing Used in Summer Rain, 3. Part I Summer Rain - Dawn, 4. Part II After the Summer Rain and 5. Conclusion. Introduction contains a brief historical background of musique concrète, Electronische Musik, acousmatic music and music for instruments and tape, followed by basic descriptions of digital technique used in both parts of Summer Rain in Chapter 2. Also Chapter 2 describes software used in Summer Rain including "Kawamoto's VST," which is based on MAX/MSP, to create new sounds from the recorded samples using a Macintosh computer. In both Chapter 3 and 4, Kawamoto discusses a great deal of the pre-compositional stage of each piece including inspirational sources, especially Rainer Maria Rilke's poems and Olidon Redon's paintings, as well as her visual and sound imageries. In addition Chapter 3 she talks about sound sources, pitch, form and soundscape. Chapter 4 contains analysis on pitch in the piano part, rhythm, form and the general performance practice. Chapter 5 is a short conclusion of her aesthetics regarding Summer Rain, which is connected to literature, visual art and her Japanese cultural background.
Contributing Partner: UNT Libraries