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  Partner: UNT Libraries
 Department: College of Music
 Collection: UNT Theses and Dissertations
A Rhetorical Guide to Ebb

A Rhetorical Guide to Ebb

Date: May 2006
Creator: Zajicek, Daniel James
Description: In the essay A Rhetorical Guide to Ebb I explore the diverse array of influences in art, and music that guided the creation of the composition Ebb, for 13 musicians and electronics. Of those influences, the boxes of the American artist Joseph Cornell played a particularly important role. Having based the conceptual framework for Ebb on ideas taken from Cornell, the essay, instead of being driven by a single thesis, involves the creation of conceptual boxes. These conceptual boxes emphasize the influence of the artist Joseph Cornell, along with the composers Iannis Xenakis and Gérard Grisey. In addition, a time line documenting the stages in Ebb's creation is included.
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Rhythmic structure in the music of Jean Guillou: "Agni-Ignis" from Hyperion (1988).

Rhythmic structure in the music of Jean Guillou: "Agni-Ignis" from Hyperion (1988).

Date: August 2008
Creator: Lee, Ju Yeon
Description: In 1988, Jean Guillou composed Hyperion on a commission from the French oil company, Société Nationale Elf Aquitaine, to celebrate its discovery of oil. He developed this theme of fire using his imagination, European philosophical concepts, and various myths. As with Messiaen, rhythm becomes a significant element in Guillou's organ music to convey a heightened dramatic story of an exaltation of fire and to represent the fourth movement of "Agni-Ignis." For aspects of rhythmic structure, I developed new methodology to analyze rhythm in six sections of "Agni-Ignis." Guillou uses experimental rhythmic techniques such as rhythmic subdivision, cycling, rhythmic ostinato, durational contrast, and rhythmic crescendo to build the musical structure of the piece. Among them, the primary subdivision of 16th-note groups organizes throughout the piece as a cyclic theme to convey the powerful and vivid mood of fire. This rhythmic group creates many pitch patterns as thematic transformation to provide both rhythmic and harmonic complexities. The two types of rhythmic ostinato, which is variable and invariable type, juxtapose below the manual's skillful rhythm to provide variety and unity. The other notable features of rhythm appear at the border of each section, such as rhythmic crescendo, durational contrast, 32nd-note groupings, rest and ...
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Richard Strauss's Duett-Concertino: A Study of the Programmatic Elements for the Performer

Richard Strauss's Duett-Concertino: A Study of the Programmatic Elements for the Performer

Access: Use of this item is restricted to the UNT Community.
Date: May 2004
Creator: Turley, Sarah Leigh
Description: Richard Strauss's Duett-Concertino for Clarinet and Bassoon with Strings and Harp, AV 147 was one of the last works written by this celebrated composer. This double concerto has been largely unrecognized by performers and scholars until a recent surge in recorded performances. Some factors that hinder performances of the Duett-Concertino include unusual scoring and difficult rhythmic passages, as well as a lack of acknowledgement or understanding of the programmatic elements represented in the music. Sketches and letters show that the Duett-Concertino was inspired by a fairytale, which may have been the popular Beauty and the Beast. The programmatic analysis in this study examines the musical gestures of the piece, which, when combined with the cues provided in the sketches and letters, construct a musical interpretation of the fairytale. Recognition of the extra-musical features of the Duett-Concertino is essential for an effective performance and, in turn, creates additional performance possibilities such as narration and choreography.
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Riders to the Sea

Riders to the Sea

Date: December 1993
Creator: Carson, Michael, 1959-
Description: Riders to the Sea is a chamber opera in one act of approximately 40 minutes in duration. The single act is divided into six scenes that progress without pause. The vocal parts are comprised of 2 sopranos, 1 mezzo-soprano, 1 baritone, and an off-stage chorus of men's voices (tenor I, tenor II, baritone, and bass; two per part). The orchestra will be comprised of winds (1-1-1-1-1), brass (2-2-1-1), strings (2-2-2-2-1), piano, 2 percussionists, and tape, that will be used to provide a continuous background of surf and wind sounds. Authentic Irish folk songs are threaded throughout the work, generally functioning as a background element, while twentieth-century compositional techniques are utilized primarily for special effects.
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Risk Factors for Flute-Related Pain among High School and College Students

Risk Factors for Flute-Related Pain among High School and College Students

Date: May 2008
Creator: Thompson, LeeAnne
Description: Flutists have reported musculoskeletal pain from practicing and performing their instrument. This study was a statistical approach to investigate potential causal risk factors for flute related pain among high school and college students. The study focused on the relationship between flute related pain and musical background or anthropometric measurements including size, strength and flexibility. Subjects included thirty high school and college-aged flutists who were assessed using a questionnaire, bi-lateral anthropometric measurements of the upper-extremities, upper-extremity performance tests for range of motion, isometric strength and rotation speed, and instrument specific questions. Four questions regarding pain associated with flute playing were treated as dependent variables and used for correlation and regression analyses with other independent variables. A six-factor regression model was created and each model was statistically significant. Results of this study show that strength, flexibility, pain spots, and exposure are risk factors for flute related pain. Both left and right pinch strength and right isometric pronation strength were significantly correlated to flutists experiencing pain while playing. Knowledge of these factors in relationship to pain is needed in flute pedagogy to help teachers and performers understand why flutists report pain during and after playing. Additional studies are warranted for replication of this ...
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Risk factors for piano-related pain among college students and piano teachers: Possible solutions for reducing pain by using the ergonomically modified keyboard.

Risk factors for piano-related pain among college students and piano teachers: Possible solutions for reducing pain by using the ergonomically modified keyboard.

Date: August 2009
Creator: Yoshimura, Eri
Description: Playing‐related pain is a common and serious problem among pianists. Information on cause and prevention is extremely limited due to a lack of scientific research. The purpose of this study was to (1) review and describe risk factors for piano‐related pain among college students and piano teachers that were reported in my previous two research studies, (2) justify the use of an ergonomically modified keyboard as a potential solution for reducing playing‐related pain, and (3) test and evaluate the effectiveness of an ergonomically modified keyboard for alleviating pianists' pain. Both study populations reported high prevalence rates for playing‐related pain: 86 % for college students (n = 35), 91 % for piano teachers (n = 47). For both populations, statistical analyses confirmed that pianists with small physical size (hand size) were more prone to pain. This finding helped rationalize the use of an ergonomically modified keyboard (the key width is 1/16 narrower than the standard) for small‐handed pianists as an ergonomic intervention. To test the effectiveness of an ergonomically modified keyboard, 35 college students played identical music on both the reduced-sized keyboard and the standard keyboard. Observations of video‐recorded performances revealed that small-handed pianists can avoid extreme stretching of their hands ...
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Robert Schumann's Symphony in D Minor, Op. 120: A Critical Study of Interpretation in the Nineteenth-Century German Symphony

Robert Schumann's Symphony in D Minor, Op. 120: A Critical Study of Interpretation in the Nineteenth-Century German Symphony

Date: May 2003
Creator: Hellner, Jean Marie
Description: Robert Schumann's D-minor Symphony endured harsh criticism during the second half of the nineteenth century because of misunderstandings regarding his compositional approach to the genre of the symphony; changes in performance practices amplified the problems, leading to charges that Schumann was an inept orchestrator. Editions published by Clara Schumann and Alfred Dörffel as well as performing editions prepared by Woldemar Bargiel and Gustav Mahler reflect ideals of the late nineteenth century that differ markedly from those Schumann advanced in his 1851 autograph and in the Symphony's first publication in 1853. An examination of the manuscript sources and the editions authorized by Schumann reveals that he imbued the Symphony with what he called a "special meaning" in the form of an implied narrative. Although Schumann provided no written account of this narrative, it is revealed in orchestrational devices, particularly orchestration, dynamics, and articulation, many of which have been either altered or suppressed by later editors. A reconsideration of these devices as they are transmitted through the authorized sources permits a rediscovery of the work's special meaning and rectifies long-standing misperceptions that have become entrenched in the general literature concerning Schumann in general and the D-minor Symphony in particular.
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Roger Reynolds'  Variation (1988): New Concepts of Form and Sound

Roger Reynolds' Variation (1988): New Concepts of Form and Sound

Access: Use of this item is restricted to the UNT Community.
Date: December 2003
Creator: Lee, JooHee
Description: American composer Roger Reynolds was born on July 18, 1934, in Detroit, Michigan. At age 14, he determined to study piano after hearing a recording of Chopin's Polonaise in A-flat major, Opus 53 played by Vladimir Horowitz. Even though his piano teacher Kenneth Aiken recommended that he continue his study at the Curtis Institute of Music, Reynolds followed the suggestion from his parents that a musical career was not practical. After receiving a bachelor degree of engineering physics at the University of Michigan, he worked in the industry for a short period of time. In 1957, he returned to Michigan and resumed his study of music by taking a class called Composition for Non-Composers under the instruction of Ross Lee Finney. Reynolds continued his compositional study with Finney and Gerhard who were influenced by the Second Viennese School until he finished the master's degree (B.M. 1960, M.M. 1961). Variation was written under the auspices of The Banff Centre for the Arts in 1988. This piece was dedicated to Peter Serkin and premiered by Alec Karis, a faculty member at UCSD, on December 3, 1991 at Merkin Concert Hall, New York. This large-scale set of variations for piano is one of ...
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The Role of Analysis and Comparison in the Performance of Selected Single-Movement Compositions for Trumpet and Piano by Joseph Turrin with an Interview of the Composer, a Lecture Recital, Together with Three Recitals of Selected Works by Handel, Honegger, Tomasi, and Others

The Role of Analysis and Comparison in the Performance of Selected Single-Movement Compositions for Trumpet and Piano by Joseph Turrin with an Interview of the Composer, a Lecture Recital, Together with Three Recitals of Selected Works by Handel, Honegger, Tomasi, and Others

Date: December 2005
Creator: Taylor, Robert Louis
Description: Joseph Turrin (b.1947) is a composer, orchestrator, conductor, pianist, and teacher whose wide-ranging activities have contributed greatly to many aspects of contemporary American musical life. His numerous ASCAP awards (1981-20050, as well as his many other awards, document his professional success. His many commissions by various orchestras around the world, bands, brass ensembles, soloists, theatre groups and film scores show his popularity. He is also in high demand as a pianist for orchestras, in theatre productions, in commercials and studio recordings as well as serving as personal accompanist for Jerome Hines, Phil Smith, Joseph Alessi and others. Mr. Turrin's compositions for trumpet and piano have been particularly popular among college and professional players as seen by their frequent performance in those venues as evidenced by the International Trumpet Guild's Trumpet and Brass Programs for the years 1995-2002. The three works selected for the present study include: Elegy for Trumpet and String Orchestra (1971, rev. 1993, piano reduction, 1993), Caprice for Trumpet and Piano (1972), and Intrada for Trumpet and Piano (1988). In this in-depth study, special attention is given to those characteristics which create unity of form, and those traits that seem to be idiomatic of Mr. Turrin's style of ...
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The Role of Self-Efficacy and Modeling in Improvisation: The Effects of Aural and Aural/Notated Modeling Conditions on Intermediate Instrumental Music Students' Improvisation Achievement

The Role of Self-Efficacy and Modeling in Improvisation: The Effects of Aural and Aural/Notated Modeling Conditions on Intermediate Instrumental Music Students' Improvisation Achievement

Date: December 2006
Creator: Davison, Patrick Dru
Description: The first purpose of this study was to investigate whether different modeling conditions (Aural and Aural/Notated Transcription) produced significant differences for improvisation achievement. Another purpose was to investigate whether music learning theory-based improvisation instruction had an effect on students' self-efficacy for improvisation and for instrumental music. Participants (N = 76) from an accessible population of 6th through 8th grade instrumental music students were assigned to either an aural model group or an aural and notated transcription model group based on scores from Gordon's Harmonic and Rhythmic Readiness Records (1998). All students were administered two researcher-designed self-efficacy scales before and after a 10 treatment session music learning theory-based improvisation instruction. Following the treatment sessions, each participant was individually recorded and assessed by three experienced music educators. The posttest improvisation scores were subjected to an ANOVA, while the pretest to posttest scores of the students' self-efficacies for music improvisation and instrumental music were subjected to two repeated measures ANOVAs. The Bonferroni technique was used to adjust the alpha level from .05 to .017. The statistical analysis showed that there was no significant difference in improvisation achievement for the modeling conditions of aural and aural/notated transcription. Further statistical analyses showed there were significant ...
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