You limited your search to:

  Partner: UNT Libraries
 Decade: 2000-2009
 Degree Discipline: Musicology
Poetry and Patronage: Alessandro Scarlatti, The Accademia Degli Arcadia, and the Development of the Conversazione Cantata in Rome 1700-1710

Poetry and Patronage: Alessandro Scarlatti, The Accademia Degli Arcadia, and the Development of the Conversazione Cantata in Rome 1700-1710

Date: May 2005
Creator: Hale Harris, Kimberly Coulter
Description: The special relationship of patrons, librettists, and composers, in the Accademia degli'Arcadia in Rome from 1700-1710 appears in Alessandro Scarlatti's settings of Antonio Ottoboni's cantata librettos in the anthology GB Lbm. Add. 34056. An examination of Arcadian cantatas and their texts reveals the nature of their audience, function, and their place within the historical development of the genre. The conversazione cantata did not exist outside of Rome and was popular for only a brief period in the early eighteenth century. Critical examination of primary sources, including minutes from the Arcadian Academy meetings as well as household documents regarding the Cardinals Ottoboni and Pamphili, Prince Ruspoli, and other noble families, sheds light on the culture of the Arcadian Academy and the cantata within it, broader study clarifies the individuality of the conversazione cantata within Rome, and closer study of the contribution of the greatest cantata composer 1700-1710, Alessandro Scarlatti.
Contributing Partner: UNT Libraries
Reading Handel: A Textual and Musical Analysis of Handel's Acis and Galatea (1708, 1718)

Reading Handel: A Textual and Musical Analysis of Handel's Acis and Galatea (1708, 1718)

Access: Use of this item is restricted to the UNT Community.
Date: August 2005
Creator: Chang, Young-Shim
Description: The purpose of this dissertation is two-fold: one is to analyze the narratives of Acis and Galatea written by Ovid, and the two libretti by Handel's librettists including Nicola Giuvo (1708) and John Gay (1718) with John Hughes and Alexander Pope; the other is to correlate this textual analysis within the musical languages. A 1732 pastiche version is excluded because its bilingual texts are not suitable for the study of relationships between meaning and words. For this purpose, the study uses the structural theory- -mainly that of Gérard Genette--as a theoretical framework for the analysis of the texts. Narrative analysis of Acis and Galatea proves that the creative process of writing the libretto is a product of a conscious acknowledgement of its structure by composer and librettists. They put the major events of the story into recitative and ensemble. By examining the texts of both Handel's work, I explore several structural layers from the libretti: the change of the characterization to accommodate a specific occasion and the composer's response to contemporary English demand for pastoral drama with parodistic elements, alluding to the low and high class of society. Further, Polyphemus is examined in terms of relationships with culture corresponding to ...
Contributing Partner: UNT Libraries
Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640

Reconsidering the Lament: Form, Content, and Genre in Italian Chamber Recitative Laments: 1600-1640

Access: Use of this item is restricted to the UNT Community.
Date: December 2004
Creator: Chung, Kyung-Young
Description: Scholars have considered Italian chamber recitative laments only a transitional phenomenon between madrigal laments and laments organized on the descending tetrachord bass. However, the recitative lament is distinguished from them by its characteristic attitude toward the relationship between music and text. Composer of Italian chamber recitative laments attempted to express more subtle, refined and sometimes complicated emotion in their music. For that purpose, they intentionally created discrepancies between text and music. Sometimes they even destroy the original structure of text in order to clearly deliver the composer's own voice. The basic syntactic structure is deconstructed and reconstructed along with their reading and according to their intention. The discrepancy between text and music is, however, expectable and natural phenomena since text cannot be completely translated or transformed to music and vice versa. The composers of Italian chamber recitative laments utilized their innate heterogeneity between two materials (music and text) as a metaphor that represents the semantic essence of the genre, the conflict. In this context, Italian chamber recitative laments were a real embodiment of the so-called seconda prattica and through the study of them, finally, we more fully able to understand how the spirit of late Renaissance flourished in Italy in ...
Contributing Partner: UNT Libraries
Reconstructing Convention: Ensemble Forms in the Operas of Jules Massenet

Reconstructing Convention: Ensemble Forms in the Operas of Jules Massenet

Date: December 2004
Creator: Straughn, Gregory
Description: Over the last quarter-century, scholars have taken a unified approach in discussing form in Italian and French opera of the nineteenth century. This approach centers around the four-part aria and duet form begun by Bellini, codified by Rossini, modified by Verdi, and dissolved by Puccini. A similar trajectory can be seen in French opera in the works of Meyerbeer, Gounod, and Massenet; however, only Meyerbeer and Gounod have received significant critical attention. This is in part due to Massenet's reception as a "composer for the people," a title ill fitting and ripe for reconsideration. This dissertation will examine duet forms in Massenet's oeuvre and will focus on the gradual change in style manifest in his twenty-five operas. Massenet's output can be divided into three distinct periods delineated by his approach to form. Representative works from each period will show how he inherited, interpreted, thwarted, and ultimately rewrote the standard formal conventions of his time and in doing so, created a dramaturgical approach to opera that unified the formerly separate number-based elements. Massenet's longevity and popular appeal make him the quintessential French opera composer of the fin de siècle and the natural choice for examining reconstructed conventions.
Contributing Partner: UNT Libraries
The Recorder Tutors in 't Uitnement Kabinet

The Recorder Tutors in 't Uitnement Kabinet

Date: August 2005
Creator: Carpenter, Jennifer
Description: Paulus Matthysz, a prominent music printer in Amsterdam during the seventeenth century, published Jacob van Eyck's Der Fluyten Lust-hof and a collection entitled 't Uitnement Kabinet. Three extant copies of Lust-hof include a tutor Vertoninge...op de Handt-fluit, presumably by Matthysz, and a tutor by Gerband van Blanckenburgh, Onderwyzinge...op deHandt-Fluyt. Their content is not correlated with Lust-hof, and they were presumably designed for inclusion in the Kabinet II. Confusion over the tutors' conception has led to published misinformation jeopardizing their historical worth. The casual generalizations regarding the two tutors can be refuted by reestablishing the interrelationship between the tutors and the two collections. This paper employs a comprehensive study into their origins in order to rectify how the tutors are referenced in the twenty-first century.
Contributing Partner: UNT Libraries
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.
Contributing Partner: UNT Libraries
"Schattenhaft" in Mahler's Seventh and Ninth Symphonies: An Examination of a Passage in Adorno's Mahler: A Musical Physiognomy

"Schattenhaft" in Mahler's Seventh and Ninth Symphonies: An Examination of a Passage in Adorno's Mahler: A Musical Physiognomy

Date: December 2007
Creator: Houser, Krista Lea
Description: The expressive marking "schattenhaft" appears twice in Gustav Mahler's symphonies: at the beginning of the scherzo in the Seventh and within the first movement of the Ninth. Theodor Adorno's observations regarding Mahler's use of this marking, which connect it to Schopenhauer and Romantic aesthetics, provide the framework for an examination of possible meanings of these two passages in Mahler. Drawing also on references elsewhere in Adorno's book to stylistic and formal features peculiar to Mahler's music, and especially on the comparison he makes between the experiences of reading novels and listening to Mahler's symphonies, this thesis demonstrates that close analysis of the "schattenhaft" passages offers a valuable point of entry into the thinking of both Adorno and Mahler.
Contributing Partner: UNT Libraries
Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet

Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet

Date: August 2002
Creator: Dunn, John T.
Description: This document's purpose is to analyze dualities found in different films of Shakespeare's Hamlet. Each version brings different ideas to it. By analyzing each version and focusing on the Ghost Scene, comparisons of the scene's symbolism are made between the musical scores. The beginning chapters provide a history of film, film music, the play, and events up to the ghost scene. After these chapters come analyses of the scene itself. Each version uses different parts of the play for its own purposes, but there are many commonalities between them. The score for each version of the Ghost Scene will be analyzed independently of each other. This work will contribute to musicology, film research, Shakespeare studies, and English scholarship.
Contributing Partner: UNT Libraries
Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary

Selected Lute Music from Paris, Rés. Vmd. Ms. 27 from the Bibliothèque Nationale: Reconstruction, Edition, and Commentary

Access: Use of this item is restricted to the UNT Community.
Date: December 2004
Creator: Sequera, Héctor J.
Description: Paris . Rés. Vmd. Ms. 27, known as Tl.1, or the Thibault Manuscript, is one of the earliest extant sources of lute music, containing twenty-four solos and eighty-six accompaniments for vocal compositions. The manuscript was copied in Italian lute tablature lacking rhythm signs, which makes it inaccessible for modern performance. Each selection contains a full score of the four-part vocal concordance, and the reconstructed lute part in both the original notation and keyboard transcription. The introductory study elaborates upon the creation dates for Tl.1 (ca. 1502-1512) through its relationship with the sources of the time and with the older unwritten tradition of Italian secular music that is apparent in the formal treatment of the music.
Contributing Partner: UNT Libraries
Singing Songs of Social Significance: Children's Music and Leftist Pedagogy in 1930s America

Singing Songs of Social Significance: Children's Music and Leftist Pedagogy in 1930s America

Date: December 2008
Creator: Haas, Benjamin D.
Description: In their shared goal of communicating left-wing principles to children through music, Marc Blitzstein's Worker's Kids of the World (1935), Aaron Copland's The Second Hurricane (1937), and Alex North's The Hither and Thither of Danny Dither (1941) exhibit a fundamental unity of purpose that binds them both to each other and to the extensive leftist pedagogical efforts of their time. By observing the parallel relationship among these three children's works and contemporary youth organizations, summer camps, and children's literature, their cultural objectives and stylistic idiosyncrasies emerge as expressions of a continuously evolving educational tradition. Whereas Worker's Kids comes out of the revolutionary Communist aesthetics of the Composers' Collective and the militant activism of The Young Pioneers, The Second Hurricane and Danny Dither reflect the increasingly accommodating educational efforts of the American Popular Front.
Contributing Partner: UNT Libraries
The sixteenth-century basse de violon: fact or fiction? Identification of the bass violin (1535-1635).

The sixteenth-century basse de violon: fact or fiction? Identification of the bass violin (1535-1635).

Date: August 2009
Creator: Erodi, Gyongy Iren
Description: Research on the origins of the violoncello reveals considerable dispute concerning the existence and identity of its ancestor, the bass violin. This study focuses on the classification of the sixteenth- and early seventeenth-century bass violin by means of the following criteria: construction, early history and development, role due the social status of builders and players, use within the violin band, performing positions, and defining terminology. Accounts of inventories, organological treatises, music theoretical writings, lists of households and royal courts, descriptions of feasts, reports of choreographies and iconographical examples confirm the bass violin's presence in the late sixteenth century and beyond. Three of the earliest unchanged extant organological examples embody, complement and corroborate the bass violin's identification, and conclude the essay.
Contributing Partner: UNT Libraries
Social Discourse in the Savoy Theatre's Productions of  The Nautch Girl  (1891) and  Utopia Limited (1893): Exoticism and Victorian Self-Reflection

Social Discourse in the Savoy Theatre's Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection

Date: August 2003
Creator: Hicks, William L.
Description: As a consequence to Gilbert and Sullivan's famed Carpet Quarrel, two operettas with decidedly "exotic" themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society.
Contributing Partner: UNT Libraries
The Sounds of the Dystopian Future:  Music for Science Fiction Films of the New Hollywood Era, 1966-1976

The Sounds of the Dystopian Future: Music for Science Fiction Films of the New Hollywood Era, 1966-1976

Date: May 2009
Creator: McGinney, William Lawrence
Description: From 1966 to1976, science fiction films tended to depict civilizations of the future that had become intrinsically antagonistic to their inhabitants as a result of some internal or external cataclysm. This dystopian turn in science fiction films, following a similar move in science fiction literature, reflected concerns about social and ecological changes occurring during the late 1960s and early 1970s and their future implications. In these films, "dystopian" conditions are indicated as such by music incorporating distinctly modernist sounds and techniques reminiscent of twentieth-century concert works that abandon the common practice. In contrast, music associated with the protagonists is generally more accessible, often using common practice harmonies and traditional instrumentation. These films appeared during a period referred to as the "New Hollywood," which saw younger American filmmakers responding to developments in European cinema, notably the French New Wave. New Hollywood filmmakers treated their films as cinematic "statements" reflecting the filmmaker's artistic vision. Often, this encouraged an idiosyncratic use of music to enhance the perceived artistic nature of their films. This study examines the scores of ten science fiction films produced between 1966 and 1976: Fahrenheit 451, Planet of the Apes, 2001: A Space Odyssey, THX-1138, A Clockwork Orange, Silent Running, ...
Contributing Partner: UNT Libraries
Still life in black and white: An intertextual interpretation of William Grant Still's "symphonic trilogy."

Still life in black and white: An intertextual interpretation of William Grant Still's "symphonic trilogy."

Access: Use of this item is restricted to the UNT Community.
Date: August 2005
Creator: Lamb, Earnest
Description: William Grant Still's musical achievements are legion. Because he was the first African American to break the color line in America's concert halls, Still earned the sobriquet "Dean of Negro Composers." Paradoxically, Still's reception suffers from this list of "firsts." The unintended consequence of cataloging his achievements venerates his position as an iconoclast while detracting critical attention from his music. Conversely, if we ignore the social context in which Still produced his music, we risk misinterpreting his compositional choices or trivializing the significance of his accomplishments prior to the Civil Rights Movement in America. Still's so-called symphonic trilogy-Africa, Symphony No. 1 ("Afro-American"), and Symphony No. 2 ("Song of a New Race")-is the subject of an intertextual analysis that demonstrates how extra-musical concerns, such as race, and musical elements can be brought into alignment. Chapter one discusses black music scholarship in general and Still scholarship in particular by tracing the development of black music historiography. The second chapter explores one of the various modes of inquiry used to study black music-intertextuality. The context for Still's self-titled racial and universal periods is the subject of chapter three. For the first time, arguments from both sides of the racial divide are reconsidered in ...
Contributing Partner: UNT Libraries
Voice and Genre in Beethoven's  Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé, Op. 5

Voice and Genre in Beethoven's Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé, Op. 5

Date: May 2004
Creator: Kim, Jungsun
Description: This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.
Contributing Partner: UNT Libraries
The Waning of Victorian Imperialism: Stylistic Dualism in Gustav Holst's One-Act Opera Sāvitri (1908-9)

The Waning of Victorian Imperialism: Stylistic Dualism in Gustav Holst's One-Act Opera Sāvitri (1908-9)

Date: May 2005
Creator: Broughton, Joseph Earl
Description: Gustav Holst's one-act opera Sāvitri (1908-9) represents a turning point in his compositional style, which came at a significant time in British history. Holst combines a simpler style informed by his work with English folksong with the Wagnerian style that permeated his earlier compositions. Although influenced by a British imperialist view of the world, Sāvitri renders Hindu-Indian culture in positive terms without relying on the purely exotic, offers a perspective on gender relationships that does not depend solely on convention, and presents the commoner as the British ideal rather than romanticizing the aristocracy. The result is an opera subtle in its complexity, approaching the profound themes of love, death, and spirituality with emotional restraint and self-control.
Contributing Partner: UNT Libraries
The Whole as a Result of Its Parts: Assembly in Aaron Copland's Score for  The Red Pony

The Whole as a Result of Its Parts: Assembly in Aaron Copland's Score for The Red Pony

Date: May 2003
Creator: McGinney, William Lawrence
Description: Aaron Copland's music for The Red Pony (1948-49), based on John Steinbeck's story collection, is probably the best known of his film scores. The effectiveness of The Red Pony score stems from Copland's belief that film music should be subordinate to the film it accompanies. Copland composed The Red Pony score using his self-described method of "assembly," augmenting this process with devices to synchronize the music with the picture. Examination of archival sources shows how the score reflects the acknowledged influence of Igor Stravinsky, the needs of the film medium, and the plot of The Red Pony specifically. Despite Copland's modern style characteristics, the music functions much like a conventional Hollywood film score.
Contributing Partner: UNT Libraries
Yoon-Seong Cho's Jazz Korea: A Cross-cultural Musical Excursion

Yoon-Seong Cho's Jazz Korea: A Cross-cultural Musical Excursion

Date: May 2008
Creator: Joo, Hwajoon
Description: This thesis examines Yoon-Seong Cho's critically acclaimed recording Jazz Korea, in which Cho unites Korean folk music and American jazz into a single form of expression. By reinterpreting Korean folk music through jazz, Cho stimulated interest in the Korean jazz scene and a renewed interest in Korean traditional folk songs. The goal of the thesis, the first musicological essay about Yoon-Seong Cho, is to understand how Cho's diasporic experiences affected his music by leading to a process of self-discovery that allowed Cho to interpret his own identity. Through musical analysis, the study proposes a cultural interpretation of two of Cho's pieces that have achieved popularity not only among Koreans but also internationally: "Arirang" and Han-O-Baek-Nyun.
Contributing Partner: UNT Libraries