Latest content added for UNT Digital Library Collection: UNT Theses and Dissertationshttps://digital.library.unt.edu/explore/collections/UNTETD/browse/?fq=untl_institution:UNT&fq=str_degree_department:School+of+Music&display=grid&fq=str_degree_level:Doctoral2016-11-15T10:54:02-06:00UNT LibrariesThis is a custom feed for browsing UNT Digital Library Collection: UNT Theses and DissertationsDialogo della musica antica et della moderna of Vincenzo Galilei: Translation and Commentary. [Part 2]2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935697/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935697/"><img alt="Dialogo della musica antica et della moderna of Vincenzo Galilei: Translation and Commentary. [Part 2]" title="Dialogo della musica antica et della moderna of Vincenzo Galilei: Translation and Commentary. [Part 2]" src="https://digital.library.unt.edu/ark:/67531/metadc935697/small/"/></a></p><p>The purpose of this study is to provide a practical English translation of Vincenzo Galilei's significant treatise on ancient and modern music (1581). In spite of the important place this work holds in the history of music, it has never before been made available in its entirety in any language other than the original Italian. This volume includes chapters 4-6, with an index and bibliography for the entire dissertation.</p>A Study of Timbre Modulation Using a Digital Computer, with Applications to Composition2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935817/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935817/"><img alt="A Study of Timbre Modulation Using a Digital Computer, with Applications to Composition" title="A Study of Timbre Modulation Using a Digital Computer, with Applications to Composition" src="https://digital.library.unt.edu/ark:/67531/metadc935817/small/"/></a></p><p>This paper presents a means of modulating timbre in digital sound synthesis using additive processes . A major portion of the paper is a computer program, written in Pl/1, which combines this additive method of timbre modulation with several other sound manipulation ideas to form a compositional program. This program-which is named CART for Computer Aided Rotational Translation-provides input for the Music 360 digital sound synthesis program. The paper contains three major parts: (1) a discussion of the CART program's evolution; (2) a manual describing in detail the use of CART; and (3) two tape compositions realized using the program. An appendix contains the program listing and listing of the input cards that were used to produce the two compositions.</p>A Study to Determine the Effect of a Program of Rhythmic Training on the Ability to Perform Music at Sight2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935775/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935775/"><img alt="A Study to Determine the Effect of a Program of Rhythmic Training on the Ability to Perform Music at Sight" title="A Study to Determine the Effect of a Program of Rhythmic Training on the Ability to Perform Music at Sight" src="https://digital.library.unt.edu/ark:/67531/metadc935775/small/"/></a></p><p>The purpose of this study was to determine the effect of a program of rhythmic training upon the ability to perform music at sight. In addition to examining the overall sight-reading improvement, rhythm reading improvement was also investigated. The program of rhythmic training utilized the Temporal Acuity Products (TAP) system as the rhythm training aid. From these findings it was concluded that the program of rhythmic training did not affect the ability to perform music at sight. A transfer of rhythm reading to sight-reading did no take place. Results of the retention test indicated an improvement in the experimental group's scores over an extended period of time. This improvement revealed that when subjects were tested after two months, the program of rhythmic training did have an effect on sight-reading ability. It was also concluded that there might be a hierarchy of skills in which rhythmic training is only one aspect. Furthermore, there could be a combination of skills which must improve simultaneously in order to effect overall sight-reading ability.</p>The Music of Anton Webern2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935831/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935831/"><img alt="The Music of Anton Webern" title="The Music of Anton Webern" src="https://digital.library.unt.edu/ark:/67531/metadc935831/small/"/></a></p><p>In this study, the Anton Webern's music is considered in two groups: that which was written before Webern adopted the twelve-tone technique, Opp 1-16, and that written in the twelve-tone technique, Opp. 17-31. This division is not intended to represent an attempt at periodization of Webern's music, for the changes of style in Op. 17 are not that significant. But the fact that Webern employed the twelve-tone technique in all the works he wrote after Op. 16 makes this a natural point of division for a study of this sort. Besides the music of Webern, two peripheral areas are included in this study. No attempt has been made at an exhaustive biography of Webern, but facts relative to his life, and impressions about the person are presented. Also, to create a proper perspective for the study of Webern's which existed during the time that Webern lived and composed, is presented.</p>The Organ Works of Ottorino Respighi Together with Three Recitals of Selected Works of J. S. Bach, W. Bolcom, J. Guillou, J. Langlais, F. Liszt, C. Tournemire and L. Vierne2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935598/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935598/"><img alt="The Organ Works of Ottorino Respighi Together with Three Recitals of Selected Works of J. S. Bach, W. Bolcom, J. Guillou, J. Langlais, F. Liszt, C. Tournemire and L. Vierne" title="The Organ Works of Ottorino Respighi Together with Three Recitals of Selected Works of J. S. Bach, W. Bolcom, J. Guillou, J. Langlais, F. Liszt, C. Tournemire and L. Vierne" src="https://digital.library.unt.edu/ark:/67531/metadc935598/small/"/></a></p><p>This dissertation deals with Respighi's output for the organ which consists of the Three Preludes for organ solo, a Suite in G for strings and organ, two transcriptions (the Vitali Ciaccona, and a Suit by Bach), both for violin and organ, and various organ parts in the symphonic poems, operas, and orchestral works. If Respighi was not an innovator, he was at least creative in his use of the organ in his orchestral works. The organ was used primarily for color by adding depth, body, and novelty to the ever-growing orchestra. Respighi paid great attention to the smallest detail in his orchestrations, which were varied, delicate, and precise. Why did this interest in color and sonority not result in similar treatment of the organ in his music? The answer is suggested already in the description of the late romantic/orchestral organ. Its stops had lost their individuality, and they blended together in such a way that no particular color was distinguished. The though is not that Respighi's music, or the music of any other composer, caused the decline, but rather that the direction of organ-building in its search for modernity, machinery, and the industrial age, lost its identity, its characteristics personality and color, and lost in fact the very thing it was trying to achieve-- its autonomy.</p>The Bands of the Confederacy: An Examination of the Musical and Military Contributions of the Bands and Musicians of the Confederate States of America2016-01-15T13:05:20-06:00https://digital.library.unt.edu/ark:/67531/metadc798486/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc798486/"><img alt="The Bands of the Confederacy: An Examination of the Musical and Military Contributions of the Bands and Musicians of the Confederate States of America" title="The Bands of the Confederacy: An Examination of the Musical and Military Contributions of the Bands and Musicians of the Confederate States of America" src="https://digital.library.unt.edu/ark:/67531/metadc798486/small/"/></a></p><p>The purpose of this study was to investigate the bands of the armies of the Confederate States of America. This study features appendices of libraries and archives collections visited in ten states and Washington D.C., and covers all known Confederate bands. Some scholars have erroneously concluded that this indicated a lack of available primary source materials that few Confederate bands served the duration of the war. The study features appendices of libraries and archives collections visited in ten states and Washington, D.C., and covers all known Confederate bands. There were approximately 155 bands and 2,400 bandsmen in the service of the Confederate armies. Forty bands surrendered at Appomattox and many others not listed on final muster rolls were found to have served through the war. While most Confederate musicians and bandsmen were white, many black musicians were regularly enlisted soldiers who provided the same services. A chapter is devoted to the contributions of black Confederate musicians.</p>The D Major Clarinet Concerto by Theodor von Schacht (1748-1823): A Lecture Recital, Together with Three Additional Recitals of Selected Works of Brahms, Richmond, Rossini, Crusell, Reger, and Others2016-01-14T20:34:50-06:00https://digital.library.unt.edu/ark:/67531/metadc798331/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc798331/"><img alt="The D Major Clarinet Concerto by Theodor von Schacht (1748-1823): A Lecture Recital, Together with Three Additional Recitals of Selected Works of Brahms, Richmond, Rossini, Crusell, Reger, and Others" title="The D Major Clarinet Concerto by Theodor von Schacht (1748-1823): A Lecture Recital, Together with Three Additional Recitals of Selected Works of Brahms, Richmond, Rossini, Crusell, Reger, and Others" src="https://digital.library.unt.edu/ark:/67531/metadc798331/small/"/></a></p><p>The dissertation consists of four recitals: repertoire consisting of solo compositions, music for clarinet alone, chamber music, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The D Major Clarinet Concerto by Theodor von Schacht, discusses background for the development of the clarinet in different pitches and gives pertinent bibliographical and historical information on the life and works of Theodor von Schacht. A formal and stylistic analysis is then followed by a short discussion of the problems involved in the transcription and performance of the work: possibly the first solo concerto ever written for the clarinet in A. The lecture concludes with the first performance of The D Major Clarinet Concerto for clarinet in A with orchestral accompaniment reduced for piano.</p>An Investigation of Extrinsic Laryngeal Muscle Responses to Auditory Stimulation2016-01-14T20:34:50-06:00https://digital.library.unt.edu/ark:/67531/metadc798358/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc798358/"><img alt="An Investigation of Extrinsic Laryngeal Muscle Responses to Auditory Stimulation" title="An Investigation of Extrinsic Laryngeal Muscle Responses to Auditory Stimulation" src="https://digital.library.unt.edu/ark:/67531/metadc798358/small/"/></a></p><p>The purpose of this study was to provide, through systematic investigation, empirical data to support or reject the assumption that auditory stimulation by discrete pitches evokes consistent muscle responses in the extrinsic laryngeal muscles. The study was an electromyographic investigation of specific upper and lower extrinsic laryngeal muscles as stimulated by two specific pitch stimuli. The responses were evoked by auditory stimulation, without vocalization. From these findings, it was concluded that a direct relationship exists between specific pitch stimuli and specific extrinsic laryngeal muscle responses. It was concluded that these responses likely exist in the general population.</p>The Keyboard Ricercare in the Baroque Era: Volume 12016-01-14T20:34:50-06:00https://digital.library.unt.edu/ark:/67531/metadc798339/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc798339/"><img alt="The Keyboard Ricercare in the Baroque Era: Volume 1" title="The Keyboard Ricercare in the Baroque Era: Volume 1" src="https://digital.library.unt.edu/ark:/67531/metadc798339/small/"/></a></p><p>This study seeks to examine the history of the ricercare, specifically in the baroque era. In this work, all types of keyboard compositions that utilize imitative counterpoint have been examined. Late baroque fugues have been examined to determine which characteristics of the earlier ricercare remained in general use and which specific compositions contain elements causing them to resemble strongly the parent form.</p>The British Museum Manuscript Additional 35087: A Transcription of the French, Italian, and Latin Compositions with Concordance and Commentary2015-08-15T22:32:30-05:00https://digital.library.unt.edu/ark:/67531/metadc699625/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc699625/"><img alt="The British Museum Manuscript Additional 35087: A Transcription of the French, Italian, and Latin Compositions with Concordance and Commentary" title="The British Museum Manuscript Additional 35087: A Transcription of the French, Italian, and Latin Compositions with Concordance and Commentary" src="https://digital.library.unt.edu/ark:/67531/metadc699625/small/"/></a></p><p>The London British Museum Manuscript Additional 35087, hereafter referred to as London Add. 35087, is an important parchment manuscript in large octavo choirbook arrangement from the beginning of the sixteenth century. Its measurements are 19.4 x 29.3 centimeters. The manuscript contains ninety-five folios and one stub where a leaf has been torn out (f. 4).1 The last composition in the manuscript is incomplete, which indicates that one leaf is lacking at the end (f. 96). Two sets of foliation are shown: the original Roman and a more recent Arabic. Both are placed in the upper right hand corner of folio recto. The sets agree in folios 4-93. Folios 1 and 2 show no Roman figures now; folio 3 has "ii," and therefore the missing leaf probably had "iii." The Arabic numbering does not account for this missing leaf. This folio might have been assigned "4," but this number is given on the next complete leaf to coincide with the Roman "iiii." At the end, by mistake, folio 94 has "xciii" and folio 95 has "xciiii."</p>Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, Manuscript Basevi 2439: Critical Edition and Commentary2015-08-15T22:32:30-05:00https://digital.library.unt.edu/ark:/67531/metadc699394/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc699394/"><img alt="Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, Manuscript Basevi 2439: Critical Edition and Commentary" title="Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, Manuscript Basevi 2439: Critical Edition and Commentary" src="https://digital.library.unt.edu/ark:/67531/metadc699394/small/"/></a></p><p>The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vocal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin.</p>Messiaen's Influence on Post-War Serialism2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc503956/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc503956/"><img alt="Messiaen's Influence on Post-War Serialism" title="Messiaen's Influence on Post-War Serialism" src="https://digital.library.unt.edu/ark:/67531/metadc503956/small/"/></a></p><p>The objective of this paper is to show how Olivier Messiaen's Mode de valeurs et d'intensites influenced the development of postwar serialism. Written at Darmstadt in 1949, Mode de valeurs is considered the first European work to organize systematically all the major musical parameters: pitch, duration, dynamics, articulation, and register. This work was a natural step in Messiaen's growth toward complete or nearly complete systemization of musical parameters, which he had begun working towards in earlier works such as Vingt regards sur 1'Enfant-Jesus (1944), Turangalila-symphonie (1946-8), and Cantyodjaya (1949), and which he continued to experiment with in later works such as Ile de Feu II (1951) and Livre d'orgue (1951). The degree of systematic control that Messiaen successfully applied to each of the musical parameters influenced two of the most prominent post-war serial composers, Pierre Boulez and Karlheinz Stockhausen, to further develop systematic procedures in their own works. This paper demonstrates the degree to which both Boulez' Structures Ia (1951) and Stockhausen's Kreuzspiel (1951) used Mode de valeurs as a model for the systematic organization of musical parameters.</p>The Poetic Ideal in the Piano Music of Franz Liszt: A Lecture Recital, Together with Three Recitals of Music by Mozart, Beethoven, Schubert, Chopin, Brahms, and Contemporary European and North American Composers2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc504470/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc504470/"><img alt="The Poetic Ideal in the Piano Music of Franz Liszt: A Lecture Recital, Together with Three Recitals of Music by Mozart, Beethoven, Schubert, Chopin, Brahms, and Contemporary European and North American Composers" title="The Poetic Ideal in the Piano Music of Franz Liszt: A Lecture Recital, Together with Three Recitals of Music by Mozart, Beethoven, Schubert, Chopin, Brahms, and Contemporary European and North American Composers" src="https://digital.library.unt.edu/ark:/67531/metadc504470/small/"/></a></p><p>The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The chamber music program included a trio with the violin and cello performing with the piano. The repertoire of all of the programs was intended to demonstrate a variety of types and styles of piano music from several different historical periods. The lecture recital, "The Poetic Ideal in the Piano Music of Franz Liszt," was an attempt to enter a seldomexplored area of Liszt's musical inspiration. So much has been written about the brilliant and virtuosic compositions which Liszt created to demonstrate his own technical prowess that it is easy to lose sight of the other side of his creative genius. Both as a composer and as an author, Liszt reiterated his belief in the fundamental kinship of music and the other arts. The visual arts of painting and sculpture were included, but he considered the closest relationship to be with literature, and especially with poetry.</p>Music and its Relation to Futurism, Cubism, Dadaism, and Surrealism, 1905 to 19502015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc504559/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc504559/"><img alt="Music and its Relation to Futurism, Cubism, Dadaism, and Surrealism, 1905 to 1950" title="Music and its Relation to Futurism, Cubism, Dadaism, and Surrealism, 1905 to 1950" src="https://digital.library.unt.edu/ark:/67531/metadc504559/small/"/></a></p><p>Inasmuch as this investigator can determine, no major study has been done concerning music's relation to the "isms" selected for this discussion. The contemporary interest in the movements themselves has been so widespread that the documentation of them, in scattered accounts, is enormous. It is disappointing that these records provide little or no information about the musical aspects of the movements; the graphic and literary accounts, on the other hand, have been accorded generous treatments. Since futurism, cubism, and surrealism, in their origins, were oriented toward the visual and literary arts, it is not surprising that these two aspects would receive the greatest amount of attention. The meager attention to music and the distortion of its role in the movements, as has largely been the case, has created an artistic imbalance,
This writer's efforts have been directed toward an exhaustive search for factors which have, in some way or other, linked music with these movements. Musical futurism has been the easiest to identify, although its underlying theories are not always clear, since the futurists, in explaining their theories, were not always convincing, perhaps even to themselves. This writer's main attempt has been to interpret ideas that were frequently vague and poorly explained to begin with. It will become evident to the reader, in the case of the dadaists, and to some extent the surrealists, the provocative nature of their activities was deliberately designed to create incomprehension, incoherency, and confusion.</p>Ludwig van Beethoven: 33 Variations on a Waltz by Diabelli, Op, 120, A Lecture Recital, Together with Three Recitals of Selected Works of J. S. Bach, L. van Beethoven, R. Schumann, F. Chopin, F. Liszt, S. Prokofiev, and E. Granados2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc504504/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc504504/"><img alt="Ludwig van Beethoven: 33 Variations on a Waltz by Diabelli, Op, 120, A Lecture Recital, Together with Three Recitals of Selected Works of J. S. Bach, L. van Beethoven, R. Schumann, F. Chopin, F. Liszt, S. Prokofiev, and E. Granados" title="Ludwig van Beethoven: 33 Variations on a Waltz by Diabelli, Op, 120, A Lecture Recital, Together with Three Recitals of Selected Works of J. S. Bach, L. van Beethoven, R. Schumann, F. Chopin, F. Liszt, S. Prokofiev, and E. Granados" src="https://digital.library.unt.edu/ark:/67531/metadc504504/small/"/></a></p><p>The lecture recital was given December 5, 1971. A discussion of Beethoven's 33 Variations on a Waltz by Diabelli, Op. 120 included the circumstances under which the work was composed, analysis of the composition, and controversial opinions on the Variations. The piece was then performed by memory. In addition to the lecture recital three other public recitals were performed. These consisted entirely of solo literature for the piano. The first solo recital was on April 12, 1970, and included works of Bach, Beethoven, and Liszt. Part of the preparation included the writing of program notes of a historical and analytical nature. The second solo recital, on January 31, 1971, consisted entirely of sonatas by Beethoven, Chopin, and Prokofiev. The final solo program, on August 11, 1972, included works by Bach, Schumann, and Granados. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.</p>Martin Agricola's 'Musica Instrumentalis Deudsch': A Translation2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc501174/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc501174/"><img alt="Martin Agricola's 'Musica Instrumentalis Deudsch': A Translation" title="Martin Agricola's 'Musica Instrumentalis Deudsch': A Translation" src="https://digital.library.unt.edu/ark:/67531/metadc501174/small/"/></a></p><p>The problem with which this investigation is concerned is that of presenting a concise English translation of the book which Martin Agricola wrote in 1528 in German on the musical instruments and practices of his time. In addition to the translation itself, there is a major section devoted to a comparison of the material of Musica instrumentalis deudsch with other books and treatises on the same and related subjects which were written at approximately the same time or within the next hundred years. Agricola states that the purpose of his book was to teach the playing of various instruments such as organs, lutes, harps, viols, and pipes. He also noted that the material was prepared expressly for young people to study. To facilitate the accomplishment of this purpose Agricola wrote the book in short, two-lined, rhymed couplets so that the youths might quickly memorize the material and thus retain the instructions better.</p>The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume I2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc501123/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc501123/"><img alt="The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume I" title="The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume I" src="https://digital.library.unt.edu/ark:/67531/metadc501123/small/"/></a></p><p>The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.</p>Late Seventeenth-Century Italian Trumpet Concertos of the Bologna School: a Lecture Recital; Together with Three Other Recitals2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500367/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500367/"><img alt="Late Seventeenth-Century Italian Trumpet Concertos of the Bologna School: a Lecture Recital; Together with Three Other Recitals" title="Late Seventeenth-Century Italian Trumpet Concertos of the Bologna School: a Lecture Recital; Together with Three Other Recitals" src="https://digital.library.unt.edu/ark:/67531/metadc500367/small/"/></a></p><p>The lecture was given on March 3, 1974. The discussion of the Bolognese trumpet works consisted of an exploration of the local agencies that nurtured the compositional activity centered around San Petronio, biographical details of the principal composers, and stylistic and formal analyses of the works that were performed. Selections were performed from the early, middle, and late segments of the period, represented by the composers Maurizio Cazzati, Petronio Franceschini, and Giuseppe Torelli. In addition to the lecture recital three other public recitals were given. Two of these consisted primarily of solo literature for the trumpet, and the third featured chamber music with trumpet. The first solo recital was presented on July 31, 1972, and included works of Tommaso Albinoni, G. Ph. Telemann, Thérèse Brenet, and Wayne Bohrnstedt. The second solo recital, on July 22, 1974, featured French music of this century. Compositions by Ravel, Fauré,Varèse, Henri Tomasi, Pierre-Max Dubois, Benno Ammann, and Théo Charlier were presented. The chamber music recital displayed the trumpet in combination with other solo instruments and voice, together with varied accompaniments. A group of three arias for soprano and trumpet--by Purcell, Handel, and Bach--and a suite of arias for oboe and trumpet by Telemann were representative of the 18th century. These works were performed with an accompaniment of strings and basso continuo. Works from the 20th century included the combination of trumpet, clarinet, and xylophone, with percussion accompaniment, in a piece by Carlos Surinach and trumpet with pre-recorded tape in a work by David Cope. The program was presented on February 26, 1973. All of the recitals were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.</p>Béla Bartók, Out of Doors: A Lecture Recital, Together with Three Recitals of Selected Works of L.V. Beethoven, F. Chopin, J. Brahms, R. Schumann, G. Rochberg, S. Prokofieff, M. Ravel and Others2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500376/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500376/"><img alt="Béla Bartók, Out of Doors: A Lecture Recital, Together with Three Recitals of Selected Works of L.V. Beethoven, F. Chopin, J. Brahms, R. Schumann, G. Rochberg, S. Prokofieff, M. Ravel and Others" title="Béla Bartók, Out of Doors: A Lecture Recital, Together with Three Recitals of Selected Works of L.V. Beethoven, F. Chopin, J. Brahms, R. Schumann, G. Rochberg, S. Prokofieff, M. Ravel and Others" src="https://digital.library.unt.edu/ark:/67531/metadc500376/small/"/></a></p><p>The lecture recital was given January 31, 1971. A discussion of Bartok's Out of Doors, a suite consisting of five movements entitled "With Drums and Pipes," "Barcarolla," "Musettes," "The Night's Music," and "The Chase" included biographical material, general analysis of Bartok's musical style, and specific analysis of the suite itself. The suite was then performed by memory. In addition to the lecture recital three other public recitals were performed. Two of these consisted entirely of solo literature for the piano, and the other was a vocal chamber music recital. The first solo recital was on June 7, 1970, and included works of Alfredo Casella, Beethoven, Chopin, Brahms, and Bartok. Part of the preparation included the writing of program notes of a historical and analytical nature.The other solo program, on July 5, 1971, consisted entirely of twentieth-century works by George Rochberg, Sergei Prokofieff, and Maurice Ravel. The chamber music recital was performed with a visiting soprano, Jane Paul, on February 28, 1971. Emphasis was given to German Lieder by Schumann, Joseph Marx, and Alban Berg, but Spanish songs of the Renaissance, by Juan del Encina and Fuenllana, as well as a modern English song cycle by Peter Warlock were also programmed.</p>Dialogo della musica antica et della moderna of Vincenzo Galilei: Translation and Commentary. [Part 1]2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500437/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500437/"><img alt="Dialogo della musica antica et della moderna of Vincenzo Galilei: Translation and Commentary. [Part 1]" title="Dialogo della musica antica et della moderna of Vincenzo Galilei: Translation and Commentary. [Part 1]" src="https://digital.library.unt.edu/ark:/67531/metadc500437/small/"/></a></p><p>The purpose of this study is to provide a practical English translation of Vincenzo Galilei's significant treatise on ancient and modern music (1581). In spite of the important place this work holds in the history of music, it has never before been made available in its entirety in any language other than the original Italian. This volume includes the front matter and chapters 1-3.</p>MCABC 0475 an Original Composition2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500823/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500823/"><img alt="MCABC 0475 an Original Composition" title="MCABC 0475 an Original Composition" src="https://digital.library.unt.edu/ark:/67531/metadc500823/small/"/></a></p><p>MCABC 0475 is the first composition generated by MCABC (Music Composition Aided by Computer), a computer program written in PL/1. Its duration is approximately 14 minutes. Using a North Texas State University computer library program, the full score and parts were drawn by the CALCOMP plotter. The text, which discusses processes and procedures in developing MCABC 0475, as well as indeterminacy, aesthetics of computer composition, and pro gr am user information, was printed by the IBM 1403 line printer using an ALA chain which has both upper and lower case characters.</p>The Virtuoso Clarinet: Arrangements from Nineteenth-Century Italian Opera, A Lecture Recital, Together with Three Recitals of Selected Works of B. Bartók, J. Brahms, E. Carter, B. Crusell, M. Clyne, C. Debussy, P. Hindemith, R. Schumann, G. Tartini, R. Vaughan Williams, and C. Whittenberg2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500832/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500832/"><img alt="The Virtuoso Clarinet: Arrangements from Nineteenth-Century Italian Opera, A Lecture Recital, Together with Three Recitals of Selected Works of B. Bartók, J. Brahms, E. Carter, B. Crusell, M. Clyne, C. Debussy, P. Hindemith, R. Schumann, G. Tartini, R. Vaughan Williams, and C. Whittenberg" title="The Virtuoso Clarinet: Arrangements from Nineteenth-Century Italian Opera, A Lecture Recital, Together with Three Recitals of Selected Works of B. Bartók, J. Brahms, E. Carter, B. Crusell, M. Clyne, C. Debussy, P. Hindemith, R. Schumann, G. Tartini, R. Vaughan Williams, and C. Whittenberg" src="https://digital.library.unt.edu/ark:/67531/metadc500832/small/"/></a></p><p>The lecture recital was given on July 25, 1977. Transcriptions and arrangements for clarinet and piano of nineteenth-century Italian opera were popular during the virtuoso wind era and are representative of an important phase in the history of clarinet playing. Arias of Rossini and Verdi and a fantasia based on Rigoletto were performed during the lecture recital. In addition to the lecture recital, three other public recitals were performed, including solo compositions for clarinet and chamber works including clarinet.</p>A Comparative Study of the Effects of Two Experimental Methods of Guidance on Vocal Solo Memorization2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500926/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500926/"><img alt="A Comparative Study of the Effects of Two Experimental Methods of Guidance on Vocal Solo Memorization" title="A Comparative Study of the Effects of Two Experimental Methods of Guidance on Vocal Solo Memorization" src="https://digital.library.unt.edu/ark:/67531/metadc500926/small/"/></a></p><p>The purpose of this study was to compare the effects of guided musical analysis and guided attention to textual understanding on the speed of solo memorization by selected university vocal students. The guided musical analysis consisted of instruction to a subject regarding the melodic elements, rhythmic elements, phraseology, form, and key relationships of the experimental songs. The guided attention to textual understanding consisted of instruction to a subject regarding the meaning and phraseology of the experimental song texts. Subjects were required to rhythmically scan the texts in a declamatory manner. It was concluded that the three conditions of memorization were equally effective. Memorization rates were not significantly altered by historical period of song. Differences in memorization rates appeared to parallel the subjects' academic performances and their performances on the Drake Musical Aptitude Tests. Findings of this study indicated that future memorization experiments should be conducted with larger samples of subjects of a single sex who are music majors.</p>The Life and Music of Jacques-Christophe Naudot2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc501016/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc501016/"><img alt="The Life and Music of Jacques-Christophe Naudot" title="The Life and Music of Jacques-Christophe Naudot" src="https://digital.library.unt.edu/ark:/67531/metadc501016/small/"/></a></p><p>Favorable judgment of a work of art, or of a man, usually means that the work of art, or a record of the man, will be preserved for future generations to judge for themselves. An unfavorable judgment may result in a richly deserved obscurity or an irreplaceable loss, unless favorable circumstances combine to preserve the evidence for a more perspicacious generation. One can be forgiven if he distrusts history's judgment; mistakes which have been corrected are legion (the case of J. S. Bach comes most vividly to mind) and skepticism is warranted unless or until the facts are available for confirmation. It is difficult to explain the paucity of information about Jacques-Christophe Naudot, Not that he is another J. S. Bach; neither Fleury, who made the first serious effort to revive interest in his music in the early 1920's, nor Ruf, who has done much in this regard recently, nor this writer makes any such claim. He does not, however, deserve the obscurity that has been his lot. If his music is not always profound, it nevertheless has both intrinsic and historical value, and some of his works reveal considerable contrapuntal skill. It may be that Naudot stood in the shadow of Blavet, whose prowess as a flutist bolstered his reputation as a composer, or that his music was never quite the right style for the time; in any case, although his name was not unknown, he never gained the fame that earned a contemporary biographer. As a result, no autographs and very little biographical data have been found, although one or more printed copies of all his known works, except two, are to be found in various libraries, principally the Bibliotheque National in Paris.</p>The Choral-Orchestral Works of Hector Berlioz2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500964/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500964/"><img alt="The Choral-Orchestral Works of Hector Berlioz" title="The Choral-Orchestral Works of Hector Berlioz" src="https://digital.library.unt.edu/ark:/67531/metadc500964/small/"/></a></p><p>In this study the choral-orchestral compositions produced by Hector Berlioz are examined in detail for characteristics of musical form, textual setting, and methods of scoring for chorus and orchestra. Reasons for the preponderance of the choral-orchestral medium in Berlioz' output are examined in two introductory chapters. The initial chapter concerns Berlioz' personal experiences as an observer, conductor, and critic of choral music, while the second is devoted to Parisian customs in regard to the choral-orchestral medium during the eighteenth and early nineteenth centuries. Included in the historical chapter is a discussion of the haute-contre (high tenor or countertenor) voice preferred in French choruses of that period plus a short review of French orchestral practices, operatic choruses, the French Chapel, Parisian concert societies, and the Paris Conservatory. Especially important is the segment on revolutionary musical fetes which fostered grandiose compositions for chorus and instruments of extremely simple structure. Berlioz' sense of form was governed by his Gallic heritage and for this reason many critics have accused him of formlessness, when in fact his compositions invaribly revolve around a succinct formal plan, admirably executed. Berlioz added to the conservative French tradition which favored the strophe and the Rondeau (an unvarying refrain following disparate couplets) a decidedly learned and classical approach to music structuring; unfortunately, this unique combination of academic compositional techniques and Gallic forms has been a source of perplexity for analysts in search of traditional Germanic forms. Surprisingly, Berlioz makes frequent use of such complex compositional devices as augmentation, fugato, canon, pedal point, and even cantus firmus.</p>Thema med Variationer, Opus 40, by Carl Nielsen: A Lecture Recital Two Solo Recitals Including Compositions of W. A. Mozart, F. Schubert, F. Chopin, A. Casella, and R. Muczynski A Chamber Music Recital Featuring Compositions for Clarinet, Viola and Piano, by W. A. Mozart, J. Brahms F. Busoni and A. Uhl2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500970/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500970/"><img alt="Thema med Variationer, Opus 40, by Carl Nielsen: A Lecture Recital Two Solo Recitals Including Compositions of W. A. Mozart, F. Schubert, F. Chopin, A. Casella, and R. Muczynski A Chamber Music Recital Featuring Compositions for Clarinet, Viola and Piano, by W. A. Mozart, J. Brahms F. Busoni and A. Uhl" title="Thema med Variationer, Opus 40, by Carl Nielsen: A Lecture Recital Two Solo Recitals Including Compositions of W. A. Mozart, F. Schubert, F. Chopin, A. Casella, and R. Muczynski A Chamber Music Recital Featuring Compositions for Clarinet, Viola and Piano, by W. A. Mozart, J. Brahms F. Busoni and A. Uhl" src="https://digital.library.unt.edu/ark:/67531/metadc500970/small/"/></a></p><p>The lecture recital, "Thema med Variationer, Opus 40, By Carl Nielsen" presented a discussion of the composer's general background and the characteristics of his style. Specific points made were related to the Thema med Variationer; the discussion was followed by a performance of the work in its entirety. In addition to the lecture recital, three other recital programs were organized and public concerts presented to provide the platform for the works studied. Two of these programs were of solo piano music and one was of chamber music with the clarinet and viola in partnership with the piano. All programs were recorded on magnetic recording tape. The spoken portion of the lecture recital in written form is filed with the recordings as a part of this dissertation.</p>An Acoustical Study of Individual Voices in Choral Blend2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc501039/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc501039/"><img alt="An Acoustical Study of Individual Voices in Choral Blend" title="An Acoustical Study of Individual Voices in Choral Blend" src="https://digital.library.unt.edu/ark:/67531/metadc501039/small/"/></a></p><p>The purpose of this study was to investigate the phenomenon of choral blend through acoustical analysis of individual vocal sounds. One aspect of the study involved identifying and comparing the acoustical qualities of sounds produced in the usual solo manner and sounds produced by the same singers attempting to blend with a unison ensemble. Another aspect of the study involved identifying and comparing the acoustical qualities of vocal sounds identified as blending well and poorly with a unison ensemble. Singers attempting to blend adjust their overall intensity not only to affect the perceived loudness of their tones, but also to facilitate other acoustical changes which are helpful for achieving blend. Vocal blend apparently may be achieved more readily on vowels having few upper partials than on vowels having numerous upper partials. Where vibrato is employed, certain vocal sounds can achieve a good blend even though their fundamental frequencies only approximate the theoretically correct frequency. There apparently is an interaction between the vibrato of a vocal tone and its spectral features, making it advantageous for the singer to adopt mutually beneficial approaches to both factors in order to blend. Vowel modification effective for achieving vocal blend- -at least for sopranos-- appears to consist primarily of changes in the intensity relationships between the vowel formants. Singers' variations in frequency extend beyond the boundaries of any system of tuning or temperament.</p>The Earliest Trumpet Method Book Extant: A Lecture Recital; Together with Three Other Recitals2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc501052/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc501052/"><img alt="The Earliest Trumpet Method Book Extant: A Lecture Recital; Together with Three Other Recitals" title="The Earliest Trumpet Method Book Extant: A Lecture Recital; Together with Three Other Recitals" src="https://digital.library.unt.edu/ark:/67531/metadc501052/small/"/></a></p><p>This dissertation consists of four programs: one lecture recital, two recitals for solo trumpet, and one in combination with other instruments and voices. The lecture was an exploration of the contents of Modo per Imparare a Sonare di Tromba, by Girolamo Fantini, published in 16358. Fantini, who was also a trumpet player, included in his volume a wide variety of music for the natural trumpet. In addition to military signals and fanfares, the book contains exercises for developing technical ability on the trumpet, a large number of dance pieces with and without accompaniment, duets for two trumpets, and sonatas for trumpet and keyboard.</p>The Stylistic Development of the Tiento on the Iberian Peninsula from Cabezón to Cabanilles, A Lecture Recital, Together with Three Recitals of Selected Works of C. Franck, J. Alain, J. S. Bach, M. Reger, F. Liszt, W. A. Mozart and Others2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc501067/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc501067/"><img alt="The Stylistic Development of the Tiento on the Iberian Peninsula from Cabezón to Cabanilles, A Lecture Recital, Together with Three Recitals of Selected Works of C. Franck, J. Alain, J. S. Bach, M. Reger, F. Liszt, W. A. Mozart and Others" title="The Stylistic Development of the Tiento on the Iberian Peninsula from Cabezón to Cabanilles, A Lecture Recital, Together with Three Recitals of Selected Works of C. Franck, J. Alain, J. S. Bach, M. Reger, F. Liszt, W. A. Mozart and Others" src="https://digital.library.unt.edu/ark:/67531/metadc501067/small/"/></a></p><p>The lecture recital was given July 22, 1974. A discussion of the tientos of Cabezon, Aguilera de Heredia, Coelho, Correa de Arauxo, and Cabanilles included an analysis of eight specific works, a comparison of styles, and information about performance practices. The eight works were then performed. In addition to the lecture recital three other public recitals were performed, consisting entirely of solo literature for the organ. The first solo recital, on July 2, 1971, included works of Titelouze, deGrigny, Franck, and Alain. The second solo recital, on June 18, 1973, consisted of works by Bach, Klebe, Bruhns, Reger, Heiller, and Liszt. The final solo program, on June 7, 1974, included works by Boyvin, Buxtehude, Mozart, Alain, and Reger. All four programs, recorded on magnetic tape, are filed, along with the written version of the lecture material, in the North Texas State University library.</p>Brahms and the Character Piece: Emotion Guided by Intellect, a Lecture Recital, Together with Three Recitals of Selected Compositions by Beethoven, Brahms, Chopin, Debussy, Mozart, Prokofieff, and Ravel2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc501075/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc501075/"><img alt="Brahms and the Character Piece: Emotion Guided by Intellect, a Lecture Recital, Together with Three Recitals of Selected Compositions by Beethoven, Brahms, Chopin, Debussy, Mozart, Prokofieff, and Ravel" title="Brahms and the Character Piece: Emotion Guided by Intellect, a Lecture Recital, Together with Three Recitals of Selected Compositions by Beethoven, Brahms, Chopin, Debussy, Mozart, Prokofieff, and Ravel" src="https://digital.library.unt.edu/ark:/67531/metadc501075/small/"/></a></p><p>The lecture recital was given October 15, 1971. The subject of the discussion was Brahms and the Character Piece: Emotion Guided by Intellect, and it included historical and biographical information, an analysis of Brahms' romantic-classic style, a general analysis of the six character pieces in Opus 118, and performance of Opus 118 by memory. In addition to the lecture recital, three other public recitals were performed. These three programs were comprised of solo literature for the piano. The first solo recital was on April 15, 1971, and included works of Brahms, Chopin, Mozart, and Ravel. The second program, presented on April 28, 1972, featured several works of Beethoven. Performed on Septemhber 25, 1972, the third recital programmed compositions by Chopin, Debussy, and Prokofieff. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation.</p>Evolution of the Role of the Solo Trombone in the Nineteenth and Twentieth Centuries: A Lecture Recital Together with Three Recitals of Selected Works of Frescobaldi, White, Druckman, Jones, Blaecher, Ott, and Others2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500529/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500529/"><img alt="Evolution of the Role of the Solo Trombone in the Nineteenth and Twentieth Centuries: A Lecture Recital Together with Three Recitals of Selected Works of Frescobaldi, White, Druckman, Jones, Blaecher, Ott, and Others" title="Evolution of the Role of the Solo Trombone in the Nineteenth and Twentieth Centuries: A Lecture Recital Together with Three Recitals of Selected Works of Frescobaldi, White, Druckman, Jones, Blaecher, Ott, and Others" src="https://digital.library.unt.edu/ark:/67531/metadc500529/small/"/></a></p><p>The evolution of the role of the trombone as a solo instrument in the nineteenth and twentieth centuries can be traced most effectively through four schools of playing, with the music of today's avant-garde being a logical historical culmination of these four schools. It will be demons t rated that the avant-garde's use of the solo trombone has merely continued the evolutionary process started in the early nineteenth century. The contribution of the early nineteenth-century virtuosi was the establishment of the idea that the trombone could compete on its own terms with other instruments as a solo instrument. In addition to expanding the technical capabilities, they also left a basic solo repertoire. With the death of the virtuosi the trombone as a solo instrument went into a decline. For the remainder of the nineteenth century and well into the twentieth century the Paris Conservatoire was influential. Standards of solo performance were brought to new heights by excellent study material and contest solos. The next important step came from the late nineteenth-century American band virtuosi. Their influence helped the public to accept the idea of the trombone as a solo instrument. The American jazz trombonists of the 1930's and 1940's also further widened the technical capabilities of the trombone and also further encouraged acceptance of the Instrument in its solo capacity. However, their most important contribution was in new tonal colors. The music of the avant-garde takes all these previous historical achievements and makes use of them in its own unique way.</p>The Development of Woodwind Fingering Systems: A Lecture Recital, Together with Three Recitals of Selected Solo and Ensemble Works for Bassoon2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500721/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500721/"><img alt="The Development of Woodwind Fingering Systems: A Lecture Recital, Together with Three Recitals of Selected Solo and Ensemble Works for Bassoon" title="The Development of Woodwind Fingering Systems: A Lecture Recital, Together with Three Recitals of Selected Solo and Ensemble Works for Bassoon" src="https://digital.library.unt.edu/ark:/67531/metadc500721/small/"/></a></p><p>The lecture-recital, The Development of Woodwind Fingering Systems, traces the evolution of devices for controlling the pitch produced by woodwind instruments from prehistoric times to the present. The addition of keys, and the evolution of collections of individual keys into coordinated systems is particularly stressed, as are the various physical, physiological, and cultural forces which determined the directions of development of these systems. The similarities between the fingerings of various woodwind instruments are explained, a system of numbers is introduced in order to clarify these similarities, and a projection of some possibilities for future development of woodwind fingering systems is offered.</p>A History of Concert Waltzes for Piano (Lecture-Recital) Together with Three Recitals of Selected Works by Rachmaninov, Stravinsky, Schubert, J.S. Bach, Reger, Adams, Covino, Chopin, Schönberg, Ives, and Beethoven2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500844/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500844/"><img alt="A History of Concert Waltzes for Piano (Lecture-Recital) Together with Three Recitals of Selected Works by Rachmaninov, Stravinsky, Schubert, J.S. Bach, Reger, Adams, Covino, Chopin, Schönberg, Ives, and Beethoven" title="A History of Concert Waltzes for Piano (Lecture-Recital) Together with Three Recitals of Selected Works by Rachmaninov, Stravinsky, Schubert, J.S. Bach, Reger, Adams, Covino, Chopin, Schönberg, Ives, and Beethoven" src="https://digital.library.unt.edu/ark:/67531/metadc500844/small/"/></a></p><p>The first three recitals contained solely performances of piano music. The first one consisted of an Etude-Tableau by Rachmaninov, the Capriccio by Stravinsky (the chamberensemble accompaniment arranged for second piano), and the great Sonata in A minor by Schubert. The second recital contained a Prelude and Fugue by J. S. Bach, Reger's Variations and Fugue on a Theme by Bach, a Romance by the performer, Peter Covino's Toccatina Op. 4 No. 8, and Chopin's Nocturne Op. 55 No. 2 and Scherzo in E. The third recital consisted of Schonberg's Sechs Kleine Klavierstilcke, Ives's Some South-Paw Pitching, and the Sonata Op. 106 ("Hammerklavier") by Beethoven. The fourth recital featured a lecture which surveyed the piano waltz throughout its history. Several complete examples, namely Weber's Invitation to the Dance, Chopin's Waltz in A minor, and La Valse by Ravel, and incomplete examples including a Lundler by the performer, several of Schubert's waltzes, Chopin's Waltz Op. 42, and Man Lebt Nur Einmal! by Strauss-Tausig interspersed the lecture. All four recitals, tape-recorded, and the lecture, typewritten, are filed together in the Graduate Office of the North Texas State University.</p>The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume III2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500896/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500896/"><img alt="The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume III" title="The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume III" src="https://digital.library.unt.edu/ark:/67531/metadc500896/small/"/></a></p><p>The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.</p>The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume II2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500881/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500881/"><img alt="The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume II" title="The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume II" src="https://digital.library.unt.edu/ark:/67531/metadc500881/small/"/></a></p><p>The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.</p>An Evaluation of the AVII Model: a Systematic Approach to Aural-Visual Identification Instruction in Music for Young Children2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500557/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500557/"><img alt="An Evaluation of the AVII Model: a Systematic Approach to Aural-Visual Identification Instruction in Music for Young Children" title="An Evaluation of the AVII Model: a Systematic Approach to Aural-Visual Identification Instruction in Music for Young Children" src="https://digital.library.unt.edu/ark:/67531/metadc500557/small/"/></a></p><p>The problem of this study was to obtain empirical evidence of the functional nature of the Audio-visual Identification Instruction (AVII) model for designing effective music instruction for young children. The method was to use materials prepared according to the model specifications in actual classroom conditions. The purpose of the study was to compare the achievement gain of second grade children of high, middle, or low musical aptitude levels, who were instructed by experienced music specialists, first year music specialists, student teacher music specialists, or experienced classroom teachers using AVII model materials, on three tasks in the area of pitch and three tasks in the area of timbre. Subject to the circumstances and limitations of this investigation, the results indicate that the AVII model is effective for instruction for musical naming and identification tasks for young children.</p>An Evaluation of the Effectiveness of the Undergraduate Music Education Curriculum at North Texas State University2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500754/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500754/"><img alt="An Evaluation of the Effectiveness of the Undergraduate Music Education Curriculum at North Texas State University" title="An Evaluation of the Effectiveness of the Undergraduate Music Education Curriculum at North Texas State University" src="https://digital.library.unt.edu/ark:/67531/metadc500754/small/"/></a></p><p>Graduates who responded to the survey indicated that the undergraduate music education curriculum between 1967 and 1972 was generally adequate in preparing students to teach music in the public schools. Areas such as administration, supervision, student teaching, and professional education were deemed weaker than other areas by both the vocal and instrumental graduates. In comparing vocal and instrumental graduates' responses in certain areas of the questionnaire it was found that in most cases opinions of both groups agreed regarding importance of listed competencies. The curriculum was equally effective in training vocal and instrumental teachers, with the exception of secondary instrumental methods, which appeared to be an outstanding weakness. A low positive correlation (r=.107) existed between selected graduates' academic success and their success as teachers in public schools. This correlation was, however, not statistically significant and it was accepted that there was only a slight relationship between students' success in undergraduate training at North Texas and their success as public school music teachers. Graduates who responded to the survey indicated that the undergraduate music education curriculum between 1967 and 1972 was generally adequate in preparing students to teach music in the public schools. Areas such as administration, supervision, student teaching, and professional education were deemed weaker than other areas by both the vocal and instrumental graduates. In comparing vocal and instrumental graduates' responses in certain areas of the questionnaire it was found that in most cases opinions of both groups agreed regarding importance of listed competencies. The curriculum was equally effective in training vocal and instrumental teachers, with the exception of secondary instrumental methods, which appeared to be an outstanding weakness. A low positive correlation (r=.107) existed between selected graduates' academic success and their success as teachers in public schools. This correlation was, however, not statistically significant and it was accepted that there was only a slight relationship between students' success in undergraduate training at North Texas and their success as public school music teachers.</p>Keyboard Tablatures of the Mid-Seventeenth Century in the Royal Library, Copenhagen: Edition and Commentary2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500679/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500679/"><img alt="Keyboard Tablatures of the Mid-Seventeenth Century in the Royal Library, Copenhagen: Edition and Commentary" title="Keyboard Tablatures of the Mid-Seventeenth Century in the Royal Library, Copenhagen: Edition and Commentary" src="https://digital.library.unt.edu/ark:/67531/metadc500679/small/"/></a></p><p>In the history of seventeenth-century European music the court of Christian IV (r. 1588-1648) occupies a position of prominence. Christian, eager for fame as a patron of the arts, drew to Denmark many of the musical giants of the age, among them the lutenist John Dowland and the composer Heinrich Schltz. Sadly, except for financial records and occasional letters still in the archives, few traces remain of these brilliant years in Denmark. The music composed and played during this half century has largely disappeared, most of it probably in the tragic fire of 1794 that destroyed the old Christiansborg Castle in Copenhagen and with it the court music archives. Except for the recently-discovered Clausholm Fragments, only three specimens of keyboard music from the period remain: Ny kgl. Saml. 1997 fol. (Obmaus Tablature), Gl. kgl. Saonl. 376 fol. (Copenhagen Tablature), and mu 6703.2131/6 (VoigtlaJnder Tablature). It has generally been assumed that the manuscripts were of German origin. The present study, however, demonstrates a probable Danish origin for the third, possible Danish connections for the second, and establishes that the first is of Austrian provenance. The Obmaus Tablature is an amateur's preservation of a German keyboard style already outdated. This slender manuscript, dated 1637, contains a total of ten "archaic" pieces exhibiting the peculiarities of keyboard dances and song settings from the late sixteenth century. The awkward style of the pieces leads to the conclusion that they were transcribed for keyboard--more literally than imaginatively--from lute originals. The Copenhagen Tablature, consisting of thirty-four folios, is of primary importance for its evidence of the spread of the French claveqin style and the development of the keyboard suite. Of the sixty-nine pieces the majority are French dance forms, several with doubles; also included are preludes, German dances, and settings of chorales, psalms, and secular songs. In this study the dating of the various portions of the manuscript is discussed, and conjectures as to the compilers are presented.</p>Chopin's Mazurka: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, F. Busoni, D. Scarlatti, W.A. Mozart, L.V. Beethoven, F. Schubert, F. Chopin, M. Ravel and K. Szymanowski2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500649/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500649/"><img alt="Chopin's Mazurka: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, F. Busoni, D. Scarlatti, W.A. Mozart, L.V. Beethoven, F. Schubert, F. Chopin, M. Ravel and K. Szymanowski" title="Chopin's Mazurka: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, F. Busoni, D. Scarlatti, W.A. Mozart, L.V. Beethoven, F. Schubert, F. Chopin, M. Ravel and K. Szymanowski" src="https://digital.library.unt.edu/ark:/67531/metadc500649/small/"/></a></p><p>This dissertation consists of four programs: one lecture- recital, two recitals for piano solo, and
one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the performer to project music of various types and composed in different periods.</p>Stravinsky and the Transcriptional Process: an Analytical and Historical Study of Petrouchka2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500654/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500654/"><img alt="Stravinsky and the Transcriptional Process: an Analytical and Historical Study of Petrouchka" title="Stravinsky and the Transcriptional Process: an Analytical and Historical Study of Petrouchka" src="https://digital.library.unt.edu/ark:/67531/metadc500654/small/"/></a></p><p>After considering Petrouchka's historical and compositional background and the orchestral revision of 1947, this thesis analyzes the composition, dealing specifically with formal, harmonic, and melodic aspects. The study's most important discovery is of a common formal design for all the scenes and the piece as a whole, where the outer thirds of ternary structures are equal in length. The thesis also examines Stravinsky's transcriptional procedures, cataloging and contrasting them with those of the nineteenth century. The solo transcription of Petrouchka is fully discussed in the light of Stravinsky's singular treatment of and writing for the piano. In addition to the recorded performance of Trois Mouvements de Petrouchka, this dissertation includes three tape recordings of selected piano works of J. P. Rameau, L. V. Beethoven, F. Chopin, F. Liszt, C. Franck, A. Scriabin, and G. Crumb.</p>Handel and Three Prima Donnas: Reciprocal Influences, a Lecture Recital, Together with Two Recitals of Selected Works of W. A. Mozart, F. Schubert, H. Wolf, R. Strauss, G. Fauré, C. Debussy, D. Moore, and Others, and Opera Roles by Pleyel and Rossini2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500908/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500908/"><img alt="Handel and Three Prima Donnas: Reciprocal Influences, a Lecture Recital, Together with Two Recitals of Selected Works of W. A. Mozart, F. Schubert, H. Wolf, R. Strauss, G. Fauré, C. Debussy, D. Moore, and Others, and Opera Roles by Pleyel and Rossini" title="Handel and Three Prima Donnas: Reciprocal Influences, a Lecture Recital, Together with Two Recitals of Selected Works of W. A. Mozart, F. Schubert, H. Wolf, R. Strauss, G. Fauré, C. Debussy, D. Moore, and Others, and Opera Roles by Pleyel and Rossini" src="https://digital.library.unt.edu/ark:/67531/metadc500908/small/"/></a></p><p>The lecture recital was given April 1, 1974. Eighteenth-century accounts of the voices and performing styles of Francesca Cuzzoni, Faustina Bordoni, and Anna Strada del Pò were related to six opera arias written for them by George Frideric Handel. The arias, accompanied by harpsichord, violin, and violoncello, were performed with added original ornamentation. In addition to the lecture recital two other public recitals and two opera roles were performed. The first solo recital was on February 11, 1972, and included works by Mozart, Fauré, Rimsky-Korsakov, R. Strauss, Walton, Moore, and others. The second solo recital, on October 15, 1973, included works by Porpora, Rameau, Handel, Wolf, Donizetti, Debussy, and Schubert. The role of "Urgele" in the marionette opera Die Fee Urgele by Pleyel was performed in English on October 30 and 31, 1972, with the Collegium Musicum of North Texas State University. The role of "Clorinda" in Rossini's La Cenerentola was performed in English on November 26 and 28, 1972, with the Shreveport Symphony.</p>The Chorale Partita in the Baroque Period, A Lecture Recital, Together with Three Recitals of Selected Works of J. S. Bach, C. Franck, M. Duruflé, D. Buxtehude, J. Alain, J. G. Walther, Roger-Ducasse, H. Willan, J. Dandrieu, J. Langlais, J. Guillou, J. P. Sweelinck, J. Reubke, G. Bohm, and Others2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc501221/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc501221/"><img alt="The Chorale Partita in the Baroque Period, A Lecture Recital, Together with Three Recitals of Selected Works of J. S. Bach, C. Franck, M. Duruflé, D. Buxtehude, J. Alain, J. G. Walther, Roger-Ducasse, H. Willan, J. Dandrieu, J. Langlais, J. Guillou, J. P. Sweelinck, J. Reubke, G. Bohm, and Others" title="The Chorale Partita in the Baroque Period, A Lecture Recital, Together with Three Recitals of Selected Works of J. S. Bach, C. Franck, M. Duruflé, D. Buxtehude, J. Alain, J. G. Walther, Roger-Ducasse, H. Willan, J. Dandrieu, J. Langlais, J. Guillou, J. P. Sweelinck, J. Reubke, G. Bohm, and Others" src="https://digital.library.unt.edu/ark:/67531/metadc501221/small/"/></a></p><p>The lecture recital was given on August 9, 1974. Chorale partitas by Sweelinck, Scheidt, B051hm, and Walther were performed following a lecture on the chorale partita in the Baroque period. The lecture included a discussion of the instruments that the partitas were written for and the functions for which they were written. The works of Sweelinck and Scheidt and their influence on later composers were discussed. A number of lesser-known composers and their works were mentioned. Also, there was a discussion of works by well-known composers such as Bohm, Pachelbel, Buxtehude, Walther, and Bach. In addition to the lecture recital, three other public recitals were performed, all of which consisted of solo compositions for the organ. The first solo recital, including works of Buxtehude, Bach, Walther, Pepping, ?ranck, Alain, and Durufle, was performed on July 18, 1971. On August 13, 1972 the second solo recital was performed. Compositions by Greene, Stanley, Searle, Willan, Dandrieu, Roger-Ducasse, and Langlais were included in the program. The third solo recital, which included works by Sweelinck, Bach, Guillou, and Reubke, was performed on June 5, 1974. The four programs were recorded on magnetic tape and are filed with the written version of the lecture material as a part of the dissertation.</p>Three Recitals of Music by German and Danish Composers, J.S. Bach, and Contemporary North American Composers, and a Lecture Recital on the Registration of Orchestral Textures in Organ Music2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500760/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500760/"><img alt="Three Recitals of Music by German and Danish Composers, J.S. Bach, and Contemporary North American Composers, and a Lecture Recital on the Registration of Orchestral Textures in Organ Music" title="Three Recitals of Music by German and Danish Composers, J.S. Bach, and Contemporary North American Composers, and a Lecture Recital on the Registration of Orchestral Textures in Organ Music" src="https://digital.library.unt.edu/ark:/67531/metadc500760/small/"/></a></p><p>Four contrasting recitals were presented to fulfill the requirements for the degree Doctor of Musical Arts. The first recital contained music of miscellaneous composers. Two Preludes and Fugues by the North German Baroque composers Vincent Libeck and Dietrich Buxtehude were separated by Samuel Scheidt's Variations on the Netherlands folk song "Ach du feiner Reiter". The Brahms Chorale Prelude "0 wie selig seid ihr doch, ihr Frommen" and the Louis Vierne "Intermezzo" from the Third Symphony represented Romantic-style composition. The major work of the program was the Carl Nielsen Commotio, a large work in orchestral style. The second recital consisted completely of music by J. S. Bach. Four works of contrasting styles were presented: Concerto, Opus 3, No. 8, composed by Antonio Vivaldi and transcribed by Bach, Partita on Sie gegrisset, Jesu gtig, Sonata IV, and Fantasy and Fugue in G Minor. The third recital was the lecture recital: Registration of Orchestral Textures in Organ Music. This lecture was an attempt to deal with the contemporary problem in performance practice of registration of Romantic organ music. The trends in organ building in the twentieth century have ranged from a deeper exploration of the possibilities of the Romantic organ to the reevaluation of and rededication to principles of organ building popular in the seventeenth and eighteenth centuries.</p>Aaron Copland's Concerto for Clarinet: A Lecture Recital, Together with Three Recitals of Music by Mozart, Rossini, Schumann, Brahms, and Contemporary European and American Composers2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500494/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500494/"><img alt="Aaron Copland's Concerto for Clarinet: A Lecture Recital, Together with Three Recitals of Music by Mozart, Rossini, Schumann, Brahms, and Contemporary European and American Composers" title="Aaron Copland's Concerto for Clarinet: A Lecture Recital, Together with Three Recitals of Music by Mozart, Rossini, Schumann, Brahms, and Contemporary European and American Composers" src="https://digital.library.unt.edu/ark:/67531/metadc500494/small/"/></a></p><p>The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, Aaron Copland's Concerto for Clarinet, begins with biographical information, followed by a discussion of various other works of the composer and of important stylistic traits that are contained therein. After thus setting the Concerto in perspective to other major works, an investigation is made into various aspects of form and style which make the Concerto atypical in some respects to the composer t total body of works. Particular emphasis is given to rhythmic and melodic characteristics of the piece which are related to jazz and Latin-American popular music. The formal and stylistic analysis is followed by a discussion of problems involved in performing the Concerto with a piano reduction of the orchestral part, and the lecture concludes with a survey of interpretative problems posed by the work. At the conclusion of the lecture portion of the presentation, the Concerto was performed.</p>The Variations for Piano, Op. 27 of Anton Webern and the Quaderno musicale di Annalibera of Luigi Dallapiccola: A Lecture Recital, Together with Four Recitals of Selected Works of J.S. Bach, W.A. Mozart, F. Schubert, R. Schumann, J. Brahms, F. Chopin, A. Schoenberg, and M. Ravel2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500327/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500327/"><img alt="The Variations for Piano, Op. 27 of Anton Webern and the Quaderno musicale di Annalibera of Luigi Dallapiccola: A Lecture Recital, Together with Four Recitals of Selected Works of J.S. Bach, W.A. Mozart, F. Schubert, R. Schumann, J. Brahms, F. Chopin, A. Schoenberg, and M. Ravel" title="The Variations for Piano, Op. 27 of Anton Webern and the Quaderno musicale di Annalibera of Luigi Dallapiccola: A Lecture Recital, Together with Four Recitals of Selected Works of J.S. Bach, W.A. Mozart, F. Schubert, R. Schumann, J. Brahms, F. Chopin, A. Schoenberg, and M. Ravel" src="https://digital.library.unt.edu/ark:/67531/metadc500327/small/"/></a></p><p>The lecture recital was given on November 20, 1972. The discussion of Webern's Variations and Dallapiccola's Quaderno Musicale consisted of a analysis of the two works followed by a comparison of stylistic and performance aspects. The two works were then performed. In addition to the lecture recital four other public recitals were given. Two of these consisted entirely of solo literature for the piano. The third recital was a vocal chamber music recital and the fourth consisted of a piano concerto performed with an orchestra.</p>A Study of the Vocal Chamber Duet Through the Nineteenth Century2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500340/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500340/"><img alt="A Study of the Vocal Chamber Duet Through the Nineteenth Century" title="A Study of the Vocal Chamber Duet Through the Nineteenth Century" src="https://digital.library.unt.edu/ark:/67531/metadc500340/small/"/></a></p><p>In this study of vocal chamber duets the various approaches used in duet writing from the late sixteenth century through the nineteenth are examined. Various meanings attributed to the terms "vocal duet" and "chamber duet" are considered, and an appropriate delineation of the genre is determined. The study begins with examination of bicinia, dialogues, and concertato madrigals of the late sixteenth century, three kinds of works related to the continuing lines of interest in duets of later centuries: pedagogical duets, dialogue duets, and duets shaped by general musical trends. After a foundation has been laid in the sixteenth century, examples of duets of various kinds for the next three centuries are considered. It is seen that a discontinuity in the history of the vocal chamber duet occurs during the Classical period. Operatic and chamber duets prior to this time show great similarities in style. Operatic and chamber duets of the nineteenth century show distinct differences in style. At the same time that differences between operatic and chamber duets were increased, the differences between solo and duet chamber works by the same composer were decreased.</p>The Life and Works of Antonius Divitis2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500247/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500247/"><img alt="The Life and Works of Antonius Divitis" title="The Life and Works of Antonius Divitis" src="https://digital.library.unt.edu/ark:/67531/metadc500247/small/"/></a></p><p>Antonius Divitis (ca. L4715-ca. 1525) was born in Louvain, Belgium, and belonged to the generation between Josquin and Gombert. Divitis is listed in various sources as Antoine de Rycke, Le Riche, Davitz, Davtitz, and possibly Richardus Antonius, all of which mean "Anthony the Rich." His extant works include three complete masses, two parts of masses, three magnificats, five motets, two fragments (probably parts of motets) and one chanson. The purpose of this study was to collect, transcribe, and collate all existing manuscripts and prints of Divitis' compositions as well as biographical information about the composer, and to analyze the compositions for information about his techniques, as well as those of his contemporaries. Only two compositions came to the investigator in modern notation, with the remainder in various manuscripts and printed editions by such notable printers as Attaingnant, Gardane, Giunta, Petreius, Petrucci, Rhaw and Rotenbucher, from the first half of the sixteenth century. All variants in the sources were recorded and, in several instances, included in this edition wherever they seemed'to improve the musical readings.</p>Some Aspects of the French Organ Symphony: Culminating in the Symphonie Passion of Marcel Dupré: Together with Three Recitals of Selected Works of D. Buxtehude, J.S. Bach, N. Dello-Joio, P. Hindemith, S. Karg-Elert, J. Langlais, W. Latham, F. Liszt, N. Lockwood, F. Martin, D. Pinkham, L. Sowerby, and L. Vierne2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500278/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500278/"><img alt="Some Aspects of the French Organ Symphony: Culminating in the Symphonie Passion of Marcel Dupré: Together with Three Recitals of Selected Works of D. Buxtehude, J.S. Bach, N. Dello-Joio, P. Hindemith, S. Karg-Elert, J. Langlais, W. Latham, F. Liszt, N. Lockwood, F. Martin, D. Pinkham, L. Sowerby, and L. Vierne" title="Some Aspects of the French Organ Symphony: Culminating in the Symphonie Passion of Marcel Dupré: Together with Three Recitals of Selected Works of D. Buxtehude, J.S. Bach, N. Dello-Joio, P. Hindemith, S. Karg-Elert, J. Langlais, W. Latham, F. Liszt, N. Lockwood, F. Martin, D. Pinkham, L. Sowerby, and L. Vierne" src="https://digital.library.unt.edu/ark:/67531/metadc500278/small/"/></a></p><p>The lecture recital was given July 10, 1973. The Symphonie-Passion by Marcel Dupre was performed following a lecture on various factors that influenced the development of the organ symphony in France. In addition to the lecture recital, three other public recitals were performed, including solo compositions for the organ and three chamber works for organ and instruments. The first solo recital, including works of J. S. Bach, P. Hindemith, L. Sowerby, and L. Vierne, was performed on June 4, 1969. On April 17, 1970 the second solo recital was performed. Compositions by J. S. Bach, D. Buxtehude, M. Duprd, N. Dello Joio, S. Karg--Elert, and J. Langlais were included in the program. On January 25, 1971, a program of organ chamber works by N. Lockwood, D. Pinkham, and F. Martin, as well as solo works by F. Lizst, W. Latham, and Marcel Duprl, was performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.</p>The Trombone in German and Austrian Concerted Church Music of the Baroque Period: A Lecture Recital, Together with Three Recitals of Selected Works of L. Basset, L. Grondahl, W. Hartley, V. Persichetti, K. Serocki, H. Tomasi, D. White and Others2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500995/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500995/"><img alt="The Trombone in German and Austrian Concerted Church Music of the Baroque Period: A Lecture Recital, Together with Three Recitals of Selected Works of L. Basset, L. Grondahl, W. Hartley, V. Persichetti, K. Serocki, H. Tomasi, D. White and Others" title="The Trombone in German and Austrian Concerted Church Music of the Baroque Period: A Lecture Recital, Together with Three Recitals of Selected Works of L. Basset, L. Grondahl, W. Hartley, V. Persichetti, K. Serocki, H. Tomasi, D. White and Others" src="https://digital.library.unt.edu/ark:/67531/metadc500995/small/"/></a></p><p>The dissertation consists of four recitals: three solo recitals and one lecture recital. The repertoire of all the programs was intended to demonstrate a variety of music written originally for trombone. The lecture recital, "The Trombone in German and Austrian Concerted Church Music of the Baroque Period," was presented on July 3, 1974. The lecture was an attempt to illuminate the position of the trombone, both as an ensemble instrument and as a solo obbligato instrument, in church music of the Baroque period. The program included the performance of two works by Heinrich Schutz for bass voice, four trombones, and continuo; one work by Andreas Hammerschmidt for alto, bass, trombone, and continuo; and one work by Johann Joseph Fux for soprano, trombone, two violins, and continuo. A line of influence was traced from the Venetian composers Giovanni Gabrieli and Claudio Monteverdi, through Schiitz, Hammerschmidt, and Fux, to Mozart.</p>The Chansonnier Biblioteca Casanatense 2856: its History, Purpose, and Music2015-03-08T22:24:40-05:00https://digital.library.unt.edu/ark:/67531/metadc500423/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500423/"><img alt="The Chansonnier Biblioteca Casanatense 2856: its History, Purpose, and Music" title="The Chansonnier Biblioteca Casanatense 2856: its History, Purpose, and Music" src="https://digital.library.unt.edu/ark:/67531/metadc500423/small/"/></a></p><p>The chansonnier held by the Biblioteca Casanatense in Rome, designated Codex 2856 (0. V. 208), is a handsome volume containing 123 polyphonic compositions in the style of the Franco-Flemish School, circa 1450 to 1400. Although no text beyond the incipit is found in the manuscript, the value of the source is enhanced by the names of the composers of 106 of the compositions. Volume one focuses on the manuscript, giving a physical description of the manuscript, recounting the history of the manuscript, and includes discussion of selected composers and a concordance. Volume two contains the music of the chansonnier Biblioteca casanatense 2856.</p>