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  Partner: UNT Libraries
 Department: College of Music
 Decade: 1990-1999
 Collection: UNT Theses and Dissertations
A Different Drummer: A Chamber Opera

A Different Drummer: A Chamber Opera

Access: Use of this item is restricted to the UNT Community.
Date: May 1999
Creator: Friedman, Arnold Jacob
Description: A Different Drummer is a chamber opera adaptation of Donald Davis's story "A Different Drummer" from his collection Listening for the Crack of Dawn, published by August House. The opera lasts about seventy minutes, and calls for a cast of three and an orchestra of sixteen players. It contains a prologue, epilogue and four scenes in a single act. The score is prefaced by a paper describing the musical strategies employed in setting the story as an opera. Three chapters describe the adaptation from short story to opera, the essential musical elements, and details of the application of the musical elements in each scene of the opera. The libretto is presented in the fourth chapter.
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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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Nobody's Fool: A Study of the Yrodivy in Boris Godunov

Nobody's Fool: A Study of the Yrodivy in Boris Godunov

Date: December 1999
Creator: Pollard, Carol J.
Description: Modest Musorgsky completed two versions of his opera Boris Godunov between 1869 and 1874, with significant changes in the second version. The second version adds a concluding lament by the fool character that serves as a warning to the people of Russia beyond the scope of the opera. The use of a fool is significant in Russian history and this connection is made between the opera and other arts of nineteenth-century Russia. These changes are, musically, rather small, but historically and socially, significant. The importance of the people as a functioning character in the opera has precedence in art and literature in Russia in the second half of the nineteenth-century and is related to the Populist movement. Most importantly, the change in endings between the two versions alters the entire meaning of the composition. This study suggests that this is a political statement on the part of the composer.
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...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.
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A Study of Franz Liszt's Concepts of Changing Tonality as Exemplified in Selected "Mephisto" Works

A Study of Franz Liszt's Concepts of Changing Tonality as Exemplified in Selected "Mephisto" Works

Date: December 1999
Creator: Kim, Jung-Ah
Description: The purpose of this study is to analyze four late solo piano works of Franz Liszt that all bear the name "Mephisto" in their titles, in order to examine, identify and trace the development in the use of harmonic and melodic idioms that produced non-tonal or "omnitonic" effects, on the one hand, and to emphasize the need to duly accord Liszt a recognition of historical position as the nineteenth century's most influential avant garde composer whose attitude and approach had helped to shape much of the ideal of the atonal composition of this century, on the other. Chapter One presents the issues and the purpose of this study; Chapter Two investigates the principal forces that shaped Liszt's mature compositional style; Chapter Three identifies and discusses the requisites for tonal and atonal compositions; Chapter Four analyzes the four "Mephisto" dances: Waltz no.1 (1860); Polka (1883); Waltz no.3 (1883); and Bagatelle (1885). Chapter Five summarizes the findings from this study and attempts to identify in these late works of Liszt a pattern of conscientious, continuous, purposeful and progressive use of devices toward creating musical effect that would defy the established tonal requisites and undermine the tonal orientation in the composition. This study ...
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"Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage

"Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage

Date: December 1999
Creator: Boutwell, Brett N.
Description: John Cage’s Concerto for Prepared Piano and Chamber Orchestra (1950-51) holds a unique position within the composer’s oeuvre as the first work based in part on chance-derived compositional procedures. Cage entered into such practice gradually, incrementally abandoning subjective taste and personal expression through the course of the work. Drawing from the philosophical framework provided by Cage’s "Lecture on Nothing" (1950) and "Lecture on Something" (c. 1951-52), this thesis explores the aesthetic foundations of the concerto and examines Cage’s compositional methodology throughout its three movements. Special attention is paid to the procedure underlying the first movement, whose analysis is based largely on the composer’s manuscript materials for the work.
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Techniques of Sensual Perception: The Creation of Emotional Pathways

Techniques of Sensual Perception: The Creation of Emotional Pathways

Access: Use of this item is restricted to the UNT Community.
Date: December 1999
Creator: Henry, Jon L.
Description: Some artists strive to create artwork that has aesthetic value. If a piece of artwork has the ability to capture the attention of an audience, it must contain strong sensual attributes. Thus, understanding how to design an art form to contain strong sensual attributes may increase the possibility of an aesthetic experience. Since aesthetics is an experience of sensations perceived when in contact with a creative form in any artistic discipline, it is necessary for an artist to understand the nature of the sensual experience. In understanding the sensual experience, artists may be able to create techniques to enhance the aesthetic experience of their work. My video piece, entitled Ararat is a study of methods to enhance the sensual experience. I hope to accomplish this by means of using techniques that optimize an audience's perceptual experience.
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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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As Darkness Falls: A Composition for Wind Ensemble

As Darkness Falls: A Composition for Wind Ensemble

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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.
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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 ...
Contributing Partner: UNT Libraries
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