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  Partner: UNT Libraries
 Department: College of Music
 Decade: 1990-1999
 Month: December
 Collection: UNT Theses and Dissertations
...and one of time...: A Composition for Full Orchestra with Narration.

...and one of time...: A Composition for Full Orchestra with Narration.

Access: Use of this item is restricted to the UNT Community.
Date: December 1999
Creator: Rinker, John Thomas
Description: ‘...and one of time.' is a reinterpretation of a small musical moment from Philip Glass' opera, Einstein on the Beach, centered around the phrase "Berne, Switzerland 1905." This reinterpretation is realized through the use of several different compositional techniques including spectral composition, micropolyphony and dodecaphony, as well as the application of extra-musical models developed by Alan Lightman, John Gardner, Italo Calvino and Albert Einstein.
Contributing Partner: UNT Libraries
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.
Contributing Partner: UNT Libraries
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.
Contributing Partner: UNT Libraries
Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet, with Three Recitals of Selected Works by Rossini, Sutermeister, Castelnuovo-Tedesco, Weiner, Bown, Beethoven, Brahms, and Others

Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet, with Three Recitals of Selected Works by Rossini, Sutermeister, Castelnuovo-Tedesco, Weiner, Bown, Beethoven, Brahms, and Others

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.
Contributing Partner: UNT Libraries
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.
Contributing Partner: UNT Libraries
As Darkness Falls: A Composition for Wind Ensemble

As Darkness Falls: A Composition for Wind Ensemble

Access: Use of this item is restricted to the UNT Community.
Date: December 1999
Creator: Prinz, Kendall R.
Description: As Darkness Falls is a composition that explores our interaction with several aspects of darkness through the use of musical imagery. The imagery attempts to reflect the moods, feelings, and impressions of a person as he or she interacts with darkness. The non-programmatic character of the composition allows listeners to superimpose their own experiences onto the musical tapestry in order to manifest a personal connection between the listener and the music. As Darkness Falls is a composition scored for a minimum instrumentation of piccolo, 6 flutes, 3 oboes, 3 bassoons, 9 B-flat clarinets, B-flat bass clarinet, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 4 B-flat trumpets, 4 horns in F, 3 tenor trombones, bass trombone, 2 euphoniums, 2 tubas, timpani, and 4 percussionists. The music consists of three movements (slow-slow-fast) lasting a total of approximately seventeen minutes. The duration of each of the three movements is six minutes, four and one-half minutes, and six and one-half minutes, respectively. The document also contains an analysis of the work by the composer. The analysis explores the compositional style of the work, focusing on musical aspects within each movement that were governing parameters in the compositional process.
Contributing Partner: UNT Libraries
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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Factors Relating to Student Participation in Public School String Programs

Factors Relating to Student Participation in Public School String Programs

Date: December 1998
Creator: Perkins, Deborah L. (Deborah Louise)
Description: This study explored factors relating to participation in public school orchestra programs and the relationship and predictability of such factors in accordance with Maehr's theory of personal investment.
Contributing Partner: UNT Libraries
Fanny Mendelssohn Hensel : A Bridge between Felix Mendelssohn and Johannes Brahms

Fanny Mendelssohn Hensel : A Bridge between Felix Mendelssohn and Johannes Brahms

Date: December 1997
Creator: Tarpenning, Emily
Description: This thesis is a study of four compositions written by Fanny Mendelssohn Hensel, older sister of Felix Mendelssohn. Her music is compared with four pieces composed by Felix. This study shows that Fanny was a gifted and creative composer, even surpassing Felix and predating Brahms with her compositional ideas and progressive uses of harmony. Despite her excellent education and recognition among those who knew her well, she did not publicize her talent in any way because of pressure from her father, Abraham, and Felix to stay within the prescribed societal confines of wife and mother.
Contributing Partner: UNT Libraries
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.
Contributing Partner: UNT Libraries
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