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  Partner: UNT Libraries
 Department: College of Music
 Decade: 1990-1999
 Collection: UNT Theses and Dissertations
Addition, Omission and Revision: the Stylistic Changes Made to Zehn Variationen über ein Präludium von Chopin by Ferruccio Busoni

Addition, Omission and Revision: the Stylistic Changes Made to Zehn Variationen über ein Präludium von Chopin by Ferruccio Busoni

Date: December 1994
Creator: Yoon, Soomee
Description: This study examines what Busoni meant by "formal deficiencies" when he described his 1884 version of Chopin Variations, and reveals that changes made to the 1884 version during its process of revision in 1922 correct the "formal deficiencies" and show a fundamental change in Busoni's compositional style and perception of musical motion. Including a detailed analysis of the modifications, omissions, and additions made to the 1922 version (including an examination of the Chopin Prelude in C minor, op. 28, No. 20 as a theme to reveal aspects of its construction used in the variation process), which shows how these changes affect the work's compositional structure.
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Andrejs Jurjāns as Symbol of Latvian Identity: Native Folk Songs in his Large-Scale Symphonic Works

Andrejs Jurjāns as Symbol of Latvian Identity: Native Folk Songs in his Large-Scale Symphonic Works

Date: December 1997
Creator: Švalbe, Erika Lynn
Description: This thesis presents a study of Andrejs Jurjāns' significant symphonic works as informed by a native musicologist, Professor Jānis Torgāns, and illuminates Jurjāns' role within the cosmopolitan framework of nationalism in music.
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An Application of Grundgestalt Theory in the Late Chromatic Music of Chopin: a Study of his Last Three Polonaises

An Application of Grundgestalt Theory in the Late Chromatic Music of Chopin: a Study of his Last Three Polonaises

Date: December 1994
Creator: Spicer, Mark Joseph
Description: The late chromatic music of Chopin is often difficult to analyze, particularly with a system of Roman numerals. The study examines Schoenberg's Grundgestalt concept as a strategy for explaining Chopin's chromatic musical style. Two short Chopin works, Nocturne in E-flat major. Op. 9, No. 2, and Etude in E major, Op. 10, No. 3, serve as models in which the analytic method is formulated. Root analysis, in the manner of eighteenth-century theorist Simon Sechter, is utilized to facilitate harmonic analysis of chromatic passages. Based upon the analytic method developed, the study analyzes the last three polonaises of Chopin: Polonaise in F-sharp minor, Op. 44, Polonaise in A-flat major, Op. 53, and Polonaise-Fantasie in A-flat major, Op. 61. The Grundgestalt-based analysis shows harmonic, melodic and rhythmic connections in order to view Chopin's chromaticism and formal structure from a new perspective. With this approach, the chromaticism is viewed as essential to the larger form.
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Applications of Reductive Analytical Techniques in the Phrygian Settings of the Orgelbüchlein by J.S. Bach

Applications of Reductive Analytical Techniques in the Phrygian Settings of the Orgelbüchlein by J.S. Bach

Date: May 1995
Creator: Leite, Zilei de Oliveira
Description: This study aims to two problematic aspects of the Phrygian mode: a. the development of a harmonic pattern at the cadence that differs from that of the other modes and of the major and minor modes as well; b. the observation that the Phrygian scale inverts all of the intervallic properties of the Major scale. The result of these two observations is that when the reductive techniques of Heinrich Schenker are applied in the Phrygian repertory, melodic and harmonic properties are brought into conflict with each other. However, application of alternative models of the Ursatz developed by Lori Burns has certain benefits for demonstrating musical properties in the Phrygian repertory.
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An Argument for the Reassessment of Stravinsky's Early Serial Compositions

An Argument for the Reassessment of Stravinsky's Early Serial Compositions

Date: December 1995
Creator: Hughes, Timothy Stephen
Description: Between 1952 and 1957, Igor Stravinsky surprised the world of music by gradually incorporating serialism into his style of composition. Although Stravinsky still used the neo-classical trait of making strong references to the music of earlier periods, musical analyses of this transitional period have focused on serial aspects to the exclusion of anachronistic elements. Evidence of Stravinsky's possible use of musical structures adapted from earlier times is found in his consistent use of musical figures that are closely related to the cadences of the late Medieval and Renaissance eras. By fully addressing these neo-classical traits in future analyses, music theorists will gain an additional perspective, which is helpful in understanding the music of Stravinsky's transitional period.
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Art Song by Turn-of-the-Century Female Composers

Art Song by Turn-of-the-Century Female Composers

Date: December 1993
Creator: Click, Sarah, D.
Description: Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of ...
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Aspects of Performance in Three Works for Piano and Tape : Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages

Aspects of Performance in Three Works for Piano and Tape : Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages

Date: May 1993
Creator: Brandenburg, Octavia
Description: This dissertation primarily concerns performance aspects in compositions for piano and tape, using three specific works as the basis for discussion: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages. These compositions are representative of the medium as a whole, yet each offers its own unique set of performance problems.
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Assimilation of Baroque and Classical Essence with Romantic Sentiment: a Structural Analysis of Felix Mendelssohn-Bartholdy's Sonata in C Minor for Organ, Opus 62, No. 2

Assimilation of Baroque and Classical Essence with Romantic Sentiment: a Structural Analysis of Felix Mendelssohn-Bartholdy's Sonata in C Minor for Organ, Opus 62, No. 2

Date: December 1994
Creator: Chou, Kwong-Yan Godwin
Description: The purpose of this study is to examine Sonata No. 2 in detail from many analytical perspectives including melodies, rhythms, harmonic progressions, tonal plans, voice leading, and cadential patterns on macro- and micro-levels. It is believed that a more in-depth discussion of the composition from the perspective of harmony and voice leading may provide answer for the questions raised, and correct some misinterpretations in the works of certain writers. Furthermore, through analysis of Sonata No. 2. this study will show the relationship of the use of formal, stylistic, harmonic features between Mendelssohn and other composers of the eighteenth and nineteenth centuries.
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Autographs 1928 : Four Songs for Soprano and Chamber Ensemble

Autographs 1928 : Four Songs for Soprano and Chamber Ensemble

Date: August 1995
Creator: Walls, Jay Alan
Description: Autographs 1928: Four Songs for Soprano and Chamber Ensemble is a composition of approximately 16 minutes' duration and is scored for mezzo-soprano, flute, oboe, clarinet, horn in F, viola, violoncello, one keyboardist (piano and celesta), and two percussionists (marimba, xylophone, chimes, timpani, bass drum, temple blocks, triangle, and slapstick). The work consists of four songs and four readings with texts from Walls's maternal grandmother's autograph book. The composition opens with a reading and alternates between readings and songs. The music is intended to reflect the playful, tender and humorous nature of the lyrics.
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The Baroque Guitar : Late Spanish Style as Represented by Santiago de Murcia in the Salvidar Manuscript (1732), with Three Recitals of Selected Works by Bach, Rak, Brouwer, Hummel, Gnattali and Others

The Baroque Guitar : Late Spanish Style as Represented by Santiago de Murcia in the Salvidar Manuscript (1732), with Three Recitals of Selected Works by Bach, Rak, Brouwer, Hummel, Gnattali and Others

Date: December 1993
Creator: Yates, Stanley
Description: xxii, 169 leaves : ill.
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I, Blavatsky: A One-Act Opera

I, Blavatsky: A One-Act Opera

Date: May 1990
Creator: Cooper, Steve, 1951 Dec. 4-
Description: I, Blavatsky is a one-act opera based on the life of Helena Petrovna Blavatsky, a nineteenth-century Russian princess and co-founder of a religious organization called the Theosophical Society. The libretto, by the composer, involves a cast of three principal soloists and minor roles for six more singers who are also participants in a small chorus. The text format features free verse alternating with regular, rhymed strophes. Accompaniment is provided by a piano. Melodic structure combines some nineteenth-century Romantic idioms with twentieth-century style. Most of the melodic and harmonic material was intuitively composed to express the text. Rhythmic and stylistic contrasts are accomplished in the representation of the extensive travels of the main character. Stage directions involve a stylized set, several scenes requiring minimal set changes, magical effects to represent that facet of Blavatsky's life, and onstage costume changes for several characters. Approximate duration is one hour.
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Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet

Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet

Date: December 1997
Creator: Walzel, Robert L.
Description: The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 1923-40 during his residency in Paris, 1941-56 during his residency in the United States, and 1957 until his death in 1959 when he returned permanently to Europe.
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Boulez's Sonatine and the Genesis of His Twelve-tone Practice

Boulez's Sonatine and the Genesis of His Twelve-tone Practice

Date: May 1998
Creator: Chang, Sangtae
Description: This dissertation proposes that the Sonatine broadly unfolds a kinetic structure that stems from the traditional tension-relief model and, consequently, its dependence on tradition proves much deeper than Boulez would acknowledge.
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Cadential Syntax and Mode in the Sixteenth-Century Motet: a Theory of Compositional Process and Structure from Gallus Dressler's Praecepta Musicae Poeticae

Cadential Syntax and Mode in the Sixteenth-Century Motet: a Theory of Compositional Process and Structure from Gallus Dressler's Praecepta Musicae Poeticae

Date: May 1996
Creator: Hamrick, David (David Russell)
Description: Though cadences have long been recognized as an aspect of modality, Gallus Dressler's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressler's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. The latter held that the repercussae of each mode were "principal cadences," contrary to Aron's expansive lists. Dressler's syntactical theory of cadence usage was tested by examining seventeen motets by Dressler and seventy-two motets by various early sixteenth-century composers. In approximately three-fourths of the motets in each group, cadences appeared on only two different pitches (with only infrequent exceptions) in their exordia and at text articulations. These pairs are the principal cadences of Dressler's list, and identify the mode of the motets. Observations and conclusions are offered regarding the ambiguities of individual modes, and the cadence-tone usage of individual composers.
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A Capella Eletronnica

A Capella Eletronnica

Date: August 1995
Creator: Bonneau, Paul G. (Paul Gregory)
Description: The intent of A capella Eletronnica is to explore the possibility of the human voice as the most versatile of musical instruments. The voice, capable of melodic, harmonic, percussive and rhythmic effects, is also employed for spoken text and conversational elements as musical sources. My aim was to enlarge this array of vocal techniques with the use of electronic processing and amplification.
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Chaos, Cosmos, and Communion: Three Movements for String Quartet

Chaos, Cosmos, and Communion: Three Movements for String Quartet

Date: August 1994
Creator: Moran, David W. (David Wayne)
Description: The three movements of this piece are related proportionally in that movements one and two represent three-fifths of the length of the whole. Movement three represents two-fifths of the length of the whole. Another proportional relationship exists between movements one and two. Movement one represents two-fifths of the length of the first two movements, while movement two represents three-fifths of the length of the two. An additional link between the three movements is pitch content. Movements one and two have little in common in this regard, but movement three combines elements of the first two. The duration of the entire piece is approximately fifteen minutes.
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The Christmas Cantatas of Christoph Graupner (1683-1760)

The Christmas Cantatas of Christoph Graupner (1683-1760)

Date: August 1992
Creator: Schmidt, René R.
Description: An assessment of the contributions of Christoph Graupner's 1,418 extant church cantatas is enhanced by a study of his fifty-five surviving Christmas cantatas, written for the feasts of Christmas, St. Stephen's, St. John's, and the Sunday after Christmas. Graupner's training in Kirchberg, Reichenbach and at the Thomas School in Leipzig is recounted as well as his subsequent tenures in Hamburg and Darmstadt.
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Circumfusion: a Composition for Real-Time Computer Music Spatialization System

Circumfusion: a Composition for Real-Time Computer Music Spatialization System

Date: August 1998
Creator: Morgan, Christopher R. (Christopher Robert)
Description: Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation. The present research details the development of a compact spatialization system using a MAX patch controlling a Kurzweil K2500 sampler. This system supports real-time diffusion of up to six simultaneous sound files over eight loudspeakers while incorporating intensity panning, Doppler shifts, delays and filtering. The MAX patch allows composers to choose from several automatic sound spatialization trajectories or to use the mouse to draw and store their own trajectories for later playback. The piece, Circumfusion, is an eighteen-minute composition of electroacoustic music utilizing this spatialization system.
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Comparative Study of the Bel Canto Teaching Styles and their Effects on Vocal Agility

Comparative Study of the Bel Canto Teaching Styles and their Effects on Vocal Agility

Date: August 1996
Creator: Harper, Portia
Description: This thesis examines the historical significance of the vocal methods employed from the middle of the seventeenth century to the beginning of the nineteenth century in what became known as the bel canto era. It provides further exploration into the pedagogical procedures of the bel canto technique through a study of the premier instructors and singers from this period. The resurgence of interest in this tradition is addressed along with its impact on current vocal pedagogy. The vital role that vocal agility played as one of its most distinguishing traits is the primary factor under investigation. A discussion of the bel canto teaching styles in relation to their approach to agility is a major point of inquiry. By maintaining a link between present artists and pedagogues and the old Italian school, it helps the singer understand the historical implications of vocal agility as an integral part of healthy vocal development.
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Concertino for Flute, Timpani and String Orchestra

Concertino for Flute, Timpani and String Orchestra

Date: December 1995
Creator: Moon, Jeong-Hyun
Description: Concertino for Flute, Timpani, and String Orchestra is a three movement piece that blends Western European forms with Korean idioms. The following essay addresses pitch materials, melodic structure, rhythm, form, instrumentation, vertical structures, and developmental procedures used in the work.
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Contemporary Swedish Music for Solo Trumpet and Trumpet in Mixed Chamber Ensembles with a Performance Analysis of Selected Works of Bo Nilsson, Folke Rabe, and Tommy Zwedberg

Contemporary Swedish Music for Solo Trumpet and Trumpet in Mixed Chamber Ensembles with a Performance Analysis of Selected Works of Bo Nilsson, Folke Rabe, and Tommy Zwedberg

Date: August 1991
Creator: Engstrom, Larry M. (Larry Milton)
Description: This study discusses how cultural and social aspects of contemporary Swedish society impact the musical arts. It contains biographical information on representative Swedish composers, and analyzes technical and structural elements of their compositional styles. Finally, it recommends performance practice considerations regarding technical and interpretive details in Tommy Zwedberg's Face the Music for trumpet and prepared audio tape, Folke Habe's Shazam for unaccompanied trumpet, and Bo Nilsson's Infrastruktur for brass quintet.
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Contours

Contours

Date: August 1994
Creator: Hughes, Russell M., 1954-
Description: Contours is scored for full wind ensemble and percussion, and is approximately nine minutes in length. The title refers to the way melodic shape or contour is used to create unity and variety in the piece. Contours is a single-movement work containing three sections that are unified by thematic and harmonic materials. The melodic material is generated by three twelve-tone rows, which are then used in combination with freely composed material. The first and last sections are highly contrapuntal and rhythmically disjunct. Both sections share common rhythmic and melodic patterns. These sections are contrasted with a slower and more lyric middle section. This section is made of a series of episodes that create an overall A-B-A structure.
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Copland's "Single Vision" and the Piano Sonata: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, B. Bartok, L.v. Beethoven, F. Chopin, F. Liszt, W.A. Mozart, J.P. Rameau, M. Ravel, and F. Schubert

Copland's "Single Vision" and the Piano Sonata: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, B. Bartok, L.v. Beethoven, F. Chopin, F. Liszt, W.A. Mozart, J.P. Rameau, M. Ravel, and F. Schubert

Date: August 1990
Creator: Morris, Gregory W. (Gregory Wayne)
Description: Difficulties are encountered in any discussion of Copland's style, for his works cover the spectrum from harsh, dissonant works to folk music. To avoid the task of defining a style which encompasses this array of vastly different pieces, a sharp distinction is frequently made between the abstract and popular works. However, Copland has repeatedly objected to such categorization, claiming that he composed from a single vision. A careful examination of his total output proves the validity of his claim. Many common characteristics are found throughout works from all categories and time periods. These traits include a basic economy of materials, emphasis on thirds, consistent method of development, use of declamation, jazz-influenced rhythms, cyclicism, and a slow/fast/slow sequence of movements, as well as within single movements. This document uses the Piano Sonata as a model of Copland's style, for it exemplifies these characteristics more clearly than any other major piece for piano. By making numerous comparisons with other works, Copland's single vision is revealed.
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Cyril Scott's Piano Sonata, Op. 66: A Study of His Innovative Musical Language, With Three Recitals of Selected Works by Mozart, Schumann, Scriabin, Debussy, Ravel and Others

Cyril Scott's Piano Sonata, Op. 66: A Study of His Innovative Musical Language, With Three Recitals of Selected Works by Mozart, Schumann, Scriabin, Debussy, Ravel and Others

Date: May 1995
Creator: Cheung, Ching-Loh
Description: The objective of the dissertation is to examine Cyril Scott's musical language as exhibited in his Piano Sonata, Op. 66. Subjects of discussion include Scott's use of form, rhythm, melody, tonality, and harmony. Also included are a biographical sketch of the composer and his philosophical view of modernism. A comparison of the original version and the revised edition of this sonata, as well as references to Cyril Scott's two other piano sonatas are also included during the examination of his harmonic and rhythmic style.
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