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  Partner: UNT Libraries
 Department: College of Music
 Decade: 1990-1999
 Degree Discipline: Performance
 Collection: UNT Theses and Dissertations
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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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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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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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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The Dramatic Aspects of Thea Musgrave's Narcissus for Solo Flute and Digital Delay (1987) : With Three Recitals of Selected Works by Bach, Feld, Debussy, Persichetti, Berio, Varese, Mozart, Roussel, and Others

The Dramatic Aspects of Thea Musgrave's Narcissus for Solo Flute and Digital Delay (1987) : With Three Recitals of Selected Works by Bach, Feld, Debussy, Persichetti, Berio, Varese, Mozart, Roussel, and Others

Date: May 1996
Creator: Boyd, Diane, 1967-
Description: An examination of the compositional style, subject matter, and use of technology as found in Thea Musgrave's 1987 composition Narcissus for solo flute and digital delay. Includes a short history of Musgrave's formal training, an overview of her creative output, and a discussion of the evolution of her compositional style from her studies with Boulanger in Paris to the present with special emphasis on her dramatic-abstract concept and her forays into post-modernism. Provides insight into Musgrave's choice of mythological text, the literary basis of the Narcissus legend, and its impact on Western thought. Identification of principal motifs, discussion of harmonic implications, melodic language, and optional intermedia effects; and explanation of the electronic effects used within the work. Detailed analysis of the motifs, their electronic manipulations, and how they represent aurally the characters of the Narcissus myth. Listing of Musgrave's works with flute or piccolo in a primary role, details of her transcription of Narcissus for solo clarinet, and diagrams of digital delay controls and stage setting follow as appendices.
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An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others

An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others

Date: December 1999
Creator: Varner, Michael L.
Description: Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach ...
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An Examination of the Percussion Writing in the Chamber Works of George Crumb, 1960-1980 with Three Recitals of Selected Works of Bergsma, Kurka, Miyoshi, Niimi, Takemitsu, and Others

An Examination of the Percussion Writing in the Chamber Works of George Crumb, 1960-1980 with Three Recitals of Selected Works of Bergsma, Kurka, Miyoshi, Niimi, Takemitsu, and Others

Date: August 1993
Creator: LedBetter, Robert B.
Description: In this study, the unique style of percussion writing in the chamber works of George Crumb, written between 1960 and 1980, is examined. The principal aspects examined within this study include: the extended instrumental techniques, the use of percussion within the musical imagery, soloistic treatment, compositional and notational procedures, and specific performance problems pertaining to the chamber work Songs, Drones, and Refrains of Death.
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Form and tonality as elements of neoclassical style in two works by Jean Francaix: Divertimento pour flute et piano (1955) and Suite pour flute seule (1963) with three recitals of selected works of Mozart, Widor, Feld, Muczynski and others

Form and tonality as elements of neoclassical style in two works by Jean Francaix: Divertimento pour flute et piano (1955) and Suite pour flute seule (1963) with three recitals of selected works of Mozart, Widor, Feld, Muczynski and others

Date: May 1996
Creator: Ruppe, Elizabeth Ambler
Description: The music of Jean Francaix is well known to those familiar with woodwind chamber literature. His long, successful career began in the 1930s when French composers rejected the excessively chromatic harmonies, intense emotionalism and grandiose proportions of late Romantic music. Embracing the concepts of neoclassicism, economy of means, clarity and objectivity, and a return to diatonicism and formal structures, the new "Classical" music contained the added spice of twentieth-century harmonic techniques including bitonality, modality, and quartal and quintal harmonies. Francaix has written many concertos and solos for woodwind instruments, but his enduring popularity resides in his chamber music for various combinations. His publisher for the last six decades has been B. Schott's Sohne who commissioned Francaix to write several chamber works in honor of his eightieth birthday. Two of his works for flute, Divertimento pour flute et piano and Suite pour flute seule, are known to professional flutists but not considered standards in the flute repertoire. The purpose of this paper is to call attention to the wide variety of Francaix's repertoire which is eminently suitable for concert and recital programming. The identification of formal and tonal elements in Francaix's two works for flute helps to place his prodigious output ...
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French Accompanied Keyboard Music from Mondonville's Opus III to Mondonville's Opus V: The Birth of a Genre, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Back, F. Couperin, G. Frescobaldi, W.A. Mozart, C. Balbastre, D. Scarlatti, J.P. Rameau and Others

French Accompanied Keyboard Music from Mondonville's Opus III to Mondonville's Opus V: The Birth of a Genre, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Back, F. Couperin, G. Frescobaldi, W.A. Mozart, C. Balbastre, D. Scarlatti, J.P. Rameau and Others

Date: December 1993
Creator: Patterson, Yumi Uchikoda
Description: In mid-eighteenth-century France, a type of ensemble music was introduced for harpsichord and another instrument(s) in which the harpsichord part is completely written out, instead of a bass line with figures to be realized. Composers of this genre used the word "accompanied" in the tides or in the prefaces of their collections to describe the genre. This study examines the earliest examples of this genre, the works of seven composers, published in the 1740's, (Mondonville, Rameau, Boismoitier, Clement, Dupuits, Guillemain, and Luc Marchand), and compares the various styles of the written out parts, both harpsichord and additional instrument, to determine the nature of the word, "accompaniment."
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George Gershwin's Rhapsody in Blue (Solo Piano Version) : An Historical, Rhythmic and Harmonic Perspective, a Lecture Recital, Together with Three Recitals of Selected Works of R. Schumann, F. Liszt and Others

George Gershwin's Rhapsody in Blue (Solo Piano Version) : An Historical, Rhythmic and Harmonic Perspective, a Lecture Recital, Together with Three Recitals of Selected Works of R. Schumann, F. Liszt and Others

Date: December 1994
Creator: Innis, Steve (Stephen Gregory)
Description: The evolution of twentieth century American music involves much more than the continuation of European tradition. The music of black Americans before and after the turn of the century had a profound impact on the musical sensibility of American culture in general. Additionally, the fledgling popular music publishing industry had a dramatic effect on the course of "classical" tradition. Nowhere was this more apparent than in the music of George Gershwin. Gershwin's importance in the history of American art music is undisputed. Why his music sounds the way it does is less understood. This paper considers the popular and folk genres that most influenced the young caiposer, and traces specific stylistic elements through their various popular and folk incarnations of the previous thirty years into Gershwin's Rhapsody in Blue of 1924.
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The Harpsichord Concertos of Wilhelm Friedemann Bach, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.F. Bach, D. Scarlatti, F. Couperin, J.J. Froberger, G. Ligeti, W. Byrd, and Others

The Harpsichord Concertos of Wilhelm Friedemann Bach, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.F. Bach, D. Scarlatti, F. Couperin, J.J. Froberger, G. Ligeti, W. Byrd, and Others

Date: May 1995
Creator: Hunt, Janet Evelyn
Description: The harpsichord concertos of Wilhelm Friedemann Bach (1710-1784) have suffered undeserved neglect. The four authenticated solo concertos remain in manuscript, with the result that his contribution to the history of the keyboard concerto has been largely overlooked. This study begins to correct this situation by examining these four concertos--F41 in D Major, F43 in E Minor, F44 in F Major, and F45 in A Minor--as well as the published two-harpsichord Concerto in E-Flat Major, F46, and the incomplete Concerto in E-Flat Major, F42 in order to assess W. F. Bach's contribution to the keyboard concerto following its origins in the early 1700s. The results of this investigation show that W. F. Bach took the early keyboard concerto of his father's generation and added many of the characteristics which became associated with the mid-eighteenth century concerto. Friedemann retained the polyphonic interplay between tutti and solo, harmonic language, and tonal plan of his father's compositions and added a wealth of rhythmic ideas and a more modern melodic style. He worked within an established four ritornello/three solo plan for the outer movements, but employed a variety of formal plans for the middle movements. Friedemann heightened the contrast between the solo and the orchestra ...
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Hearing History: Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music

Hearing History: Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music

Date: December 1999
Creator: Fulton, Stephen L.
Description: Duo Chopinesque by Michael Hennagin and Chameleon Music by Dan Welcher represent two of the most significant percussion ensemble compositions written in the last twenty years. Both works are written for the mostly mallet type of percussion ensemble wherein the keyboard instruments predominate. However, the most unique aspect of these two pieces is their use of musical quotation. Duo Chopinesque borrows Chopin's Prelude in E minor in its entirety, while Chameleon Music borrows portions from four Mozart Sonatas. This paper places each work within the history of the percussion ensemble, and in the larger history of musical quotation in the twentieth century. In addition, the compositional characteristics of both works are examined with particular emphasis on each composer's use of borrowed material from the music of Mozart and Chopin. Particular attention is paid to the relationship between quoted material and newly composed rhythmic motives.
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Historical and Analytical Aspects of William Flackton's Sonatas for Viola and Keyboard (OPUS 2. Nos. 2, 4. 6. 8) with Particular Attention to the Sonata in D Maior (OPUS 2. No. 4)

Historical and Analytical Aspects of William Flackton's Sonatas for Viola and Keyboard (OPUS 2. Nos. 2, 4. 6. 8) with Particular Attention to the Sonata in D Maior (OPUS 2. No. 4)

Date: December 1991
Creator: Rosenbaum, George G. (George Gene)
Description: These four sonatas of William Flackton (1709-1798) are probably the earliest collection of sonata literature written for the viola. They exist with a few other string sonatas from the Baroque period in England. It is essential to establish their place in English baroque music and to develop a performance milieu or stylistic preference that leads up to and lasts through the time span of Flackton's sonatas. The final tool to establish an interpretive plan will be to present a general analysis of the four sonatas with special emphasis on the D major sonata (opus 2, no. 4).
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A Historical Survey of Woodwind Doubling and A Form/Style Analysis of Four Works for Doubler and Wind Ensemble, a Lecture Recital together with Three Recitals of Selected Works by W.A. Mozart. A. Glazounov. P. Tate. A. Szalowski. A. Copland and Others

A Historical Survey of Woodwind Doubling and A Form/Style Analysis of Four Works for Doubler and Wind Ensemble, a Lecture Recital together with Three Recitals of Selected Works by W.A. Mozart. A. Glazounov. P. Tate. A. Szalowski. A. Copland and Others

Date: May 1993
Creator: Thompson, Phil A.
Description: Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.
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The Influence of Bela Bartok on Symmetry and Instrumentation in George Crumb's Music for a Summer Evening with Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others

The Influence of Bela Bartok on Symmetry and Instrumentation in George Crumb's Music for a Summer Evening with Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others

Date: August 1993
Creator: Kingan, Michael Gregory
Description: The purpose of this document is to investigate the influence of Bela Bartok's music, specifically the Sonata for Two Pianos and Percussion, on George Crumb's Music for a Summer Evening. It concentrates on two specific areas: 1) the role of symmetry and 2) instrumentation. These two items were stressed during an interview with Crumb by the author, which is appended to the paper.
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Joan Tower's Hexachords for Solo Flute: an Analysis and Comparison of its Flute Writing to Tower's Flute Concerto with Three Recitals of Selected Works of Vivaldi, Rivier, Mozart, Davidowsky, and Others

Joan Tower's Hexachords for Solo Flute: an Analysis and Comparison of its Flute Writing to Tower's Flute Concerto with Three Recitals of Selected Works of Vivaldi, Rivier, Mozart, Davidowsky, and Others

Date: May 1993
Creator: Jones, Margo S.
Description: This dissertation discusses two flute works by Joan Tower (born 1938). The performance medium consists of flute alone, Hexachords for Solo Flute (1972), and flute and orchestra, the Flute Concerto (1989). The discussion on Hexachords consists of a theoretical analysis; discussion on the Flute Concerto pertains to Tower's flute writing through an investigation into her musical language and specific performance techniques. Numerous examples are included to illustrate various aspects of Tower's style. Conclusions follow. The purpose of the paper is, first, to illustrate that basic knowledge of the twelve-tone method can bring a composition out of uncertainty for the performer and allow him to present what is unique within it. Secondly, it is to investigate the stylistic maturation of Joan Tower's flute works. In order to facilitate a better understanding of Tower's music and to provide commentary about the performance of each work, the writer has quoted from personal interviews with the composer and with flutists Carol Wincenc and Patricia Spencer, to whom the works are dedicated.
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The Keyboard Percussion Trios of Toru Takemitsu and Toshi Ichiyanagi, a Lecture Recital, together with Three Recitals of Selected Works of Cahn, Maslanka, Miki, Miyoshi, Ptaszynska, Schultz, Wesley-Smith, and Others

The Keyboard Percussion Trios of Toru Takemitsu and Toshi Ichiyanagi, a Lecture Recital, together with Three Recitals of Selected Works of Cahn, Maslanka, Miki, Miyoshi, Ptaszynska, Schultz, Wesley-Smith, and Others

Date: August 1995
Creator: Finnie, Jimmy W. (Jimmy Wayne)
Description: The purpose of this study is to examine the various signatures of compositional style as manifested in the keyboard percussion trios Rain Tree by Toru Takemitsu and Wind Trace by Toshi Ichiyanagi. Significant personal interaction between the aforementioned Japanese composers and American composer John Cage justifies an investigation of his influence on their compositional styles. Toru Takemitsu is currently one of the most prolific Japanese composers. In 1981, Takemitsu composed the percussion trio Rain Tree. Three years later (1984) the Japanese concert pianist Toshi Ichiyanagi composed Wind Trace using Rain Tree's identical instrumentation of marimba, vibraphone, and crotales. Rain Tree and Wind Trace are very similar in compositional style. Formally, both works are single-movement compositions employing rhythmic tension, harmonic dissonance, and visual imagery created by the use of polyrhythms, aleatory, nonfunctional harmony, and extra-musical references. This study investigates the Japanese philosophy of ma and its influence in Rain Tree and Wind Trace. Ma is the natural pause or interval between two or more phenomena occurring continuously. According to Takemitsu, ma is living space, more than actual space. Both compositions utilize space as an essential compositional technique to either connect compartmentalized activity or to complement melodic material. With the utmost respect ...
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Kurt Weill: a Song Composer in Wartime with Three Recitals of Selected Works of Mozart, Strauss, Bach, Schubert, and Others

Kurt Weill: a Song Composer in Wartime with Three Recitals of Selected Works of Mozart, Strauss, Bach, Schubert, and Others

Date: August 1993
Creator: Wyatt, Susan Beth Masters
Description: During World War II the composer Kurt Weill was in America writing for the Broadway stage. On August 27, 1943, he became an American citizen and was eager to volunteer his talent to the American war effort. Among his many wartime musical contributions are fourteen songs, all with war-related texts, which can be divided into three distinct groups: the American propaganda songs (8), the German propaganda songs (2), and the Walt Whitman songs (4). It is the purpose of this paper to present a comparative analysis of a representative group of these war songs (two from each group) in order to illustrate Weill's musical versatility. The American propaganda songs were written in a purely popular song style; sung by Broadway actors; directed toward an American audience; with texts by the Broadway lyricist Oscar Hammerstein II and the Hollywood movie executive Howard Dietz. The German propaganda songs were written in a cabaret song style; sung in German by Weill's wife, Lotte Lenya; directed toward a German audience behind enemy lines; with texts by the German playwright Bertolt Brecht and the German cabaret writer Walter Mehring. The Four Walt Whitman Songs were written in a classical art song style; sung by classically ...
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Louis Cahuzac's Clarinet Music: an Examination of Selected Works, with Three Recitals and a Solo Performance of Selected Works by Debussy, Reinecke, Bloch, Stravinsky, Mozart and Others

Louis Cahuzac's Clarinet Music: an Examination of Selected Works, with Three Recitals and a Solo Performance of Selected Works by Debussy, Reinecke, Bloch, Stravinsky, Mozart and Others

Date: May 1995
Creator: Sanders, Raphael P.
Description: Louis Cahuzac was one of the most sought-after clarinetists in the first half of the twentieth century. He was also highly respected as a conductor, as a teacher, and as a composer of music for the clarinet. The selections performed and discussed in the lecture depict Cahuzac's use of simple compositional forms and procedures which blend the expressive capability of the clarinet with its technical potential.
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The Multi-percussion Writing of William Kraft in his Encounters Series With Three Recitals of Selected Works of Erb, Ptaszynska, Redel, Serry, and Others

The Multi-percussion Writing of William Kraft in his Encounters Series With Three Recitals of Selected Works of Erb, Ptaszynska, Redel, Serry, and Others

Date: May 1993
Creator: Bridwell, Barry D.
Description: The paper is divided into six chapters. The first two provide a brief summary of the evolution of multiple percussion and biographical information about Kraft. The remaining chapters are an examination of the origin, sound sources, compositional style, and performance problems of the ten Encounters pieces. The paper concludes with several appendices, including a chronological listing of Kraft's compositions which use percussion, a list of percussion equipment and notational symbols used in the Encounters pieces, and a discography of Kraft's music.
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Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others

Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others

Date: May 1994
Creator: Quantz, Michael O.
Description: The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.
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Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble

Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble

Date: December 1999
Creator: Makela, Steven L.
Description: Reconstructions is a nine-movement composition for solo soprano, chorus, and wind ensemble using texts from several of Emily Dickinson's poems. The soloist represents the main character in this dramatic work, and the narrative structure portrays abstract moments in this character's life. While the narrative structure of the reconstructed fragments is important to the form of the composition, other elements are also significant. Pitch structures generated from set theoretical systems, in addition to cyclic and palindromic structures are utilized throughout. Timbre also delineates the form, as various combinations of instruments and chorus create an evolving environment in which the soloist resides.
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The School Fugue: Its Place in the Organ Repertoire of the French Symphonic School, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, D. Buxtehude, C. Franck, P. Eben, F. Mendelssohn, R. Schumann, M. Reger and Others

The School Fugue: Its Place in the Organ Repertoire of the French Symphonic School, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, D. Buxtehude, C. Franck, P. Eben, F. Mendelssohn, R. Schumann, M. Reger and Others

Date: August 1994
Creator: Mulvey, Margaret N.
Description: This study focuses on the central role which fugue d'ecole, as defined and taught by the post-revolutionary Conservatoire de Paris, played in re-establishing standards of excellence in organ composition and aiding the development of the French Symphonic Organ School. An examination of counterpoint and fugue treatises by Cherubini, Dubois, and Gedalge reveals the emergence of a specific school fugue form, intended for academic purposes only, as a means to instilling discipline and honing the technical skills required in all forms of musical composition.
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