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 Department: College of Music
 Collection: UNT Theses and Dissertations
An Analysis of Joseph Schwantner's Concerto for Percussion and Orchestra

An Analysis of Joseph Schwantner's Concerto for Percussion and Orchestra

Date: December 2008
Creator: Hart, Shawn Michael
Description: This analysis of Schwantner's Concerto is focused primarily on the pitch organization within the work, using terminology and concepts borrowed from those designed by Allen Forte in The Structure of Atonal Music. Discussion of pitch sets, their use, their derivation, their intervallic content, and their evolution throughout the piece are discussed. Additional discussion regarding Schwantner's style, orchestration techniques, textural manipulation with regard to form, are also discussed. Sources consist of the orchestral score, the two - piano reduction, and the solo percussion score. This document is in six chapters. The first discusses Schwantner's life and general musical style. The second is a brief discussion of terms in the field of pitch set organization. The third, fourth, and fifth chapters discuss in detail the musical materials themselves in each respective movement. Finally, the sixth chapter is a summary of the findings from the analysis.
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An Analysis of Periodic Rhythmic Structures in the Music of Steve Reich and György Ligeti

An Analysis of Periodic Rhythmic Structures in the Music of Steve Reich and György Ligeti

Date: August 2002
Creator: Isgitt, David
Description: The compositions of Steve Reich and György Ligeti both contain periodic rhythmic structures. Although periods are not usually easily perceived, the listener may perceive their combinations in a hierarchy of rhythmic structures. This document is an attempt to develop an analytical method that can account for this hierarchy in periodic music. I begin with an overview of the features of Reich's and Ligeti's music that contribute to the property of periodicity. I follow with a discussion of the music and writings of Olivier Messiaen as a precedent for the periodic structures in the music of Reich and Ligeti. I continue by consulting the writings of the Israeli musicologist Simha Arom and describing the usefulness of his ideas and terminology in the development of my method. I explain the working process and terminology of the analytical method, and then I apply it to Reich's Six Pianos and Ligeti's Désordre.
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An Analysis of Pitch Organization in Villa-lobos's Rudepoêma

An Analysis of Pitch Organization in Villa-lobos's Rudepoêma

Date: May 2013
Creator: Kruger, Esthea
Description: Heitor Villa-Lobos (1887-1959) stands central to the music history of the Brazilian twentieth century. His music represents a synthesis of the European art influences he absorbed and his quest to find a true Brazilian identity, which was not rooted in the deliberate imitation of Brazilian folk elements, but rather in the natural assimilation of them in his compositional style. His early compositions embody strong post-romantic, impressionistic tendencies, especially in regard to their harmonies and use of tone color, whereas the works from the 1920's and onwards show Villa-Lobos increasingly asserting his unusual and strong voice. Villa-Lobos's large-scale composition for piano, Rudepoêma, was composed between 1921 and 1926, and stands as one of the most significant contributions to the Latin-American piano literature. Despite of its importance in Villa-Lobos's oeuvre, it has largely eluded analytical attention. Discourse on Villa-Lobos is often marked by a somewhat one-dimensional approach that identifies the folk and rhythmic elements as the most important characteristics of his compositional style, and displays a certain reticence with regard to in-depth analysis of other parameters of his works. This study redresses the imbalance in the general approach to analytical assessment of Villa-Lobos's oeuvre by illustrating that pitch organization plays an indispensable ...
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Analysis of Roger-ducasse’s Pastorale Pour Orgue

Analysis of Roger-ducasse’s Pastorale Pour Orgue

Date: May 2012
Creator: Kim, Jung-Won
Description: Pastorale pour Orgue (1909) is Jean Jules Aimable Roger-Ducasse’s only solo organ composition, which demonstrates skillful use of organ colors and demands a virtuoso technique for performance. Writing Pastorale in 1909, Roger-Ducasse synthesized compositional styles and techniques of two very different compositional approaches – impressionism and classicism. This study examines the stylistic characteristics of Pastorale by Roger-Ducasse as examples of both of these influences. the synthesis in Pastorale is primarily evident in the combination of classical forms and generic references with impressionist harmony and color. Thus, examining these musical elements provides hitherto unexplored insights into Pastorale as a master solo organ work of the early twentieth century. the dissertation is divided into four chapters. the first chapter presents the purpose, the significance, and the state of research of the piece. in the second chapter, I examine the traits of classicism through genre, form, thematic variation and other classicist elements of the composition. the third chapter presents the traits of impressionism including harmonic parallelism, extended chords, pedal points, ostinatos, and whole-tone scales. in the fourth chapter, I summarize the study and make a suggestion for further research of the piece.
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An Analysis of Selected Choral Works by Kirke Mechem: Music-Textual Relationships in Settings of Poetry of Sara Teasdale

An Analysis of Selected Choral Works by Kirke Mechem: Music-Textual Relationships in Settings of Poetry of Sara Teasdale

Date: August 2003
Creator: Bierschenk, Jerome Michael
Description: Kirke Mechem (b. 1925), American composer, has a musical output which includes a variety of genres, the most prolific being choral music. This document examines selected choral works by Mechem that are set to the poetry of Sara Teasdale (b. 1884, d. 1933). Included are biographical sketches of Mechem and Teasdale. Selected choral works examined include Christmas Carol (1969) SATB and guitar, The Winds of May, five movement choral cycle (1965) SATB, Birds at Dusk, from the choral cycle Winging Wildly (1998) SATB, and Barter (1995) SA, trumpet, piano 4-hands. Analysis of the poetry involved as well as musical attributes and compositional techniques, including meter, form, harmonic structures, wordpainting, rhythmic treatment and melodic characteristics are included in the discussion.
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An analysis of the American Concerto by Ellen Taaffe Zwilich, identifying the use of motives, and a guide for performance preparation.

An analysis of the American Concerto by Ellen Taaffe Zwilich, identifying the use of motives, and a guide for performance preparation.

Date: August 2008
Creator: Rodriquez, Raquel
Description: Ellen Taaffe Zwilich is an important figure in the compositional world, having written a diverse body of works for which she has received many accolades, including the coveted Pulitzer Prize. The second chapter examines this American composer, the commission of the American Concerto, and events leading to the piano reduction of the concerto. The America Concerto is a modern work that incorporates synthetic scales, unusual notation, and the organization of melodic material through motives. The third chapter includes an analysis that identifies the form and tonal centers as well as the primary motives used in the concerto. The fourth chapter includes pedagogy considerations for performance. Issues relating to tessitura, articulation, flexibility, endurance factors, fingerings, and technical features of the piano reduction accompaniment are evaluated. Detailed suggestions are provided to aid in preparing the piece for performance, including a study of stylistic concerns. The American Concerto is quite diverse stylistically as Zwilich explores the symphonic and jazz genres. The dual nature of the trumpet is examined as the piece combines classical and jazz styles in a virtuosic setting.
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An Analysis of the Composition Process of Bartók's Eight Improvisations on Hungarian Peasant Songs, Op. 20

An Analysis of the Composition Process of Bartók's Eight Improvisations on Hungarian Peasant Songs, Op. 20

Access: Use of this item is restricted to the UNT Community.
Date: May 2000
Creator: Kochbeck, Olivia M.
Description: This is a study of Bartók's compositional process as it relates to the Improvisations, Op. 20. The study, which focuses on the analysis of the draft manuscript 50PS1, compares the draft and other relevant sources with the final composition. Bartók's framework for the entire Improvisations is based on a compositional strategy of pairing individual improvisations combined with systematic revision of the draft copy by the introduction of tritones as tonal equivalents and movement by fifths from semitones, to achieve structural coherence in the individual improvisations. The tonic-dominant relationship is used to rearrange the individual improvisations in the draft and tritones as tonal equivalents are used to propel the movement between the improvisations to produce a coherent whole.
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An analysis of the genesis of motive, rhythm, and pitch in the first movement of the  Sonata for Two Pianos and Percussion by Béla Bartók.

An analysis of the genesis of motive, rhythm, and pitch in the first movement of the Sonata for Two Pianos and Percussion by Béla Bartók.

Date: May 2004
Creator: Ujj-Hilliard, Emöke
Description: This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartók's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained - preparing the players' mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended ...
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An Analysis of the Pedagogical Advantages Relating to Combined Study of Euphonium and Trombone through the Use of Specific Repertoire

An Analysis of the Pedagogical Advantages Relating to Combined Study of Euphonium and Trombone through the Use of Specific Repertoire

Date: August 2010
Creator: Lipton, Jamie
Description: Doubling is defined as playing two instruments. It is becoming increasingly necessary for low brass musicians to double in the course of their careers. Euphoniumists often learn trombone, and trombonists learn euphonium. The instruments share several surface similarities but also differ in many significant ways. Interviews with six professional doublers highlight strategies for learning, teaching, and performing on both trombone and euphonium. Slide and valve technique, adjustment of intonation, tone quality, air usage, repertoire, and skill maintenance are all addressed. Trombone literature comprises a large part of the euphonium repertoire, due to the fact that most trombone pieces can be performed on euphonium. Euphoniumists should avoid playing pieces that require glissandi or extremely loud dynamics to be effective. Euphonium solos are generally too technical to be practical for trombonists to perform. Grøndahl's Concert pour trombone et piano ou orchestre is a standard piece for both instruments. When performing the piece on either instrument, it is helpful to practice the piece on both trombone and euphonium in order to tap into each instrument's strengths.
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An analysis of the Sonata for Trumpet and Piano by Peter Maxwell Davies, identifying the use of historical forms, and the implications for performance.

An analysis of the Sonata for Trumpet and Piano by Peter Maxwell Davies, identifying the use of historical forms, and the implications for performance.

Access: Use of this item is restricted to the UNT Community.
Date: August 2006
Creator: Adduci, Kathryn James
Description: The Sonata for Trumpet and Piano by Peter Maxwell Davies is one of his earliest works, and a notoriously difficult work to perform. While using serialism and other twentieth-century compositional techniques, this work also uses older historical forms, including sonata-allegro and sonata-rondo forms. An analysis of the work is presented, identifying the older historical forms, and considerations for performers when making decisions on how to perform the work are provided.
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