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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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An Analytical Study: Applying Hindemith's Tonal Theory to Niels Viggo Bentzon's Third Piano Sonata, Op. 44

An Analytical Study: Applying Hindemith's Tonal Theory to Niels Viggo Bentzon's Third Piano Sonata, Op. 44

Date: December 2009
Creator: Kim, Sun Hee
Description: Niels Viggo Bentzon (1919-2000) is the most significant composer in the post-Nielsen period of Danish piano music. Bentzon's Third Piano Sonata, Op.44 was composed in 1946 and is considered by Mark L. Lehmann to be one of the great piano sonatas of the twentieth century. Not only does this sonata reflect Hindemith's ideas, but it also reveals Bentzon's unique style that successively empowers his innovative features. By applying Hindemith's theory, this study offers a way of understanding this piece and demonstrates the relevance of Hindemith's theory as a tool for analyzing the sonata. Chapter 1 presents the significance of the study, the state of research, the purpose of the study, and method. Chapter 2 provides a theoretical analysis of Bentzon's Third Piano Sonata, Op. 44. With a discussion of each movement, this analytical chapter traces Hindemith's influences: Bentzon organizes the four movements with a clear formal structure, a mediant relationship between the first movement and the rest of the movements, and a motivic coherence of each movement. Also, this chapter demonstrates how Bentzon follows Hindemith's way of chord construction and harmonic progression. This chapter provides insight into Bentzon's original style that facilitates an understanding of the tonal organization of each ...
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An Analytical Study of Karamanov's Piano Concerto No.3 "Ave Maria"

An Analytical Study of Karamanov's Piano Concerto No.3 "Ave Maria"

Date: May 2008
Creator: Yang, Christine
Description: The purpose of this dissertation is to analyze Concerto No.3 "Ave Maria" by Alemdar Karamanov (1934-2007) and to elucidate the work through historical background and the composer's ideas. This concerto is presented as a significant gesture of dramatic emotion, religious belief, romantic spirit and universal feeling. The subtitle "Ave Maria" relates to a set up already present within the music program. An analysis of interval relationships will help performers better realize Karamanov's music language. In view of the complicated nature of this piece, an analytical study is considered necessary. The study centers principally on analysis, with an emphasis on the developments of form, tonality and motives to help performers better understand the work, and how to best approach this concerto.
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An Analytical Study of Mily Alekseyevich Balakirev's Musical Style in his Early Piano and Orchestra Works: Grande Fantaisie on Russian Folk Songs and Concerto Op.1 in F# Minor.

An Analytical Study of Mily Alekseyevich Balakirev's Musical Style in his Early Piano and Orchestra Works: Grande Fantaisie on Russian Folk Songs and Concerto Op.1 in F# Minor.

Date: May 2007
Creator: Kim, Miyang
Description: Balakirev's two early piano and orchestra works, Grande Fantaisie on Russian Folk Songs and Concerto Op. 1 in F# Minor, were composed in the middle of the nineteenth century when in Russia there were no particularly important works for piano and orchestra. Balakirev was still a teenager when he wrote these two pieces and unfortunately both remained unfinished. However the beauty and remarkable compositional achievement of these works should be highly recognized. There are six chapters in this essay. The general background, purpose and the state of research are discussed in the first chapter. The second chapter presents Balakirev's biographical information and the overview of his works for piano and orchestra is stated in Chapter III. Individual works, Grande Fantaisie and Concerto in F# Minor are discussed in the chapters IV and V, which including discussing compositional background, analysis and diagram of structural schemes. The last chapter concludes with Balakirev's contribution to Russian music and the development of the Russian concerto coming into its own. It deals particularly with Balakirev's approach to folk songs, which gives the concerto a unique Russian aesthetic, in addition to his ability to write in the European tradition.
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An Analytical Study of Robert Muczynski's Second Piano Trio

An Analytical Study of Robert Muczynski's Second Piano Trio

Date: May 2006
Creator: Oh, Eun Jun
Description: The purpose of this study is to provide scholastic research on Robert Muczynski's Second Piano Trio (1975) by presenting his biographical background, discussing influences and his musical style, and analyzing the work. Robert Muczynski (b.1929), a composer-pianist of Polish descent, studied with Alexander Tcherepnin (1899-1977). From traditional forms and techniques, he fashioned his own unique and innovative compositional style. The second piano trio, in particular, was deeper and more complex in its conception and affect than previous compositions. The first movement Andante molto opening leads to an allegro section, and the somber second movement builds to a heavy climax. The third movement is highly rhythmic and dramatically driven. Chapter I outlines the purpose of the study and the composer's biography. Chapter II describes Muczynski's compositional influences and the evolution of his musical language. Emphasis in this respect will be placed on the pedagogical role of Alexander Therepnin, as well as the important connections between Prokofiev, Tcherepnin and Muczynski. An exploration of other elements that have informed Muczynski's style is offered. Chapter III details the circumstances, general characteristics, and compositional technique of the Second Piano Trio. Detailed analysis of all three movements will be provided, with particular attention paid to aspects ...
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An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski

An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski

Date: May 2000
Creator: Ahn, Kwang Sun
Description: The purpose of this study is to analyze sets of variations on Paganini's theme by three twentieth-century composers: Ferruccio Busoni, Ignaz Friedman, and Robert Muczynski, in order to examine, identify, and trace different variation techniques and their applications. Chapter 1 presents the purpose and scope of this study. Chapter 2 provides background information on the musical form "theme and variations" and the theme of Paganini's Twenty-fourth Caprice, Op. 1. Chapter 2 also deals with the question of which elements have made this theme so popular. Chapters 3,4, and 5 examine each of the three sets of variations in detail using the following format: theme, structure of each variation, harmony and key, rhythm and meter, tempo and dynamics, motivic development, grouping of variations, and technical problems. Chapter 6 summarizes the findings from this study and attempts to compare those elements among the three variations. Special attention is given to the application of the motivic cells, which are drawn from the original Paganini theme, in the development of succeeding variations. This study shows how these motivic cells contribute to the construction of new motives and melodies in each variation. Additionally, this study attempts to examine each composer's efforts in expanding variation procedure ...
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Ancient Musical Ideas Through a Twenty-First Century Lens: An Examination of Tarik O’Regan’s Scattered Rhymes and Its Relationship to Guillaume de Machaut’s Messe de Notre Dame

Ancient Musical Ideas Through a Twenty-First Century Lens: An Examination of Tarik O’Regan’s Scattered Rhymes and Its Relationship to Guillaume de Machaut’s Messe de Notre Dame

Date: August 2011
Creator: LaBarr, Cameron Frederick
Description: British composer Tarik Hamilton O’Regan (b. 1978, London) is earning a reputation as an important composer of today. The innovative works of O’Regan are entering the spectrum of professional, educational, and community performing organizations across the United States and Europe. Scattered Rhymes’ intricate melodic, harmonic, and rhythmic relationships with Messe de Notre Dame by Guillaume de Machaut (c.1300-1377) make an examination and comparison of the two works significant. Analyzing Scattered Rhymes by tracing its roots to Guillaume de Machaut’s Messe de Notre Dame, results in a renewed interest in this ancient work and brings prominence to Tarik O’Regan’s modern musical interpretation of ancient ideas. Understanding Scattered Rhymes as a work based on ideas from the fourteenth century in fusion with compositional concepts rooted in the modern era promotes Scattered Rhymes as one that is valuable in the current musical landscape.
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An Annotated Bibliography of Selected Chamber Music For Saxophone, Winds and Percussion with Analyses Of  Danses Exotiques by Jean Françaix, and  Nonet by Fisher Tull

An Annotated Bibliography of Selected Chamber Music For Saxophone, Winds and Percussion with Analyses Of Danses Exotiques by Jean Françaix, and Nonet by Fisher Tull

Date: December 2003
Creator: Fryer, Cheryl A.
Description: An expansive repertoire of original chamber works is available for ensembles comprised of saxophone, wind and percussion instruments. Many musicians, including saxophonists and conductors, are unaware of this enormous body of literature. This produces a compelling need for sources of identification available to conductors, performers and teachers. This study begins to provide such a source through the presentation of selected works and the accompanying annotated bibliography. The lack of awareness of available scores for chamber music with saxophone, winds and percussion among conductors and many performers often contributes to the absence of these works in concert halls. The objective of this lecture-recital document is to make available a tool that includes only original works for the saxophone in a variety of chamber ensemble settings. The nature of this study will be descriptive. The literature chosen for this project reveals varying levels of performance difficulty, compositional techniques, form, and instrumentation. Chosen works employ an ensemble size that requires a conductor or are more successfully performed with a conductor. Selected compositions are illustrated in which the saxophone is identified as a vital ingredient in an already existing repertoire of serious chamber literature. Works in this study include original compositions using from seven ...
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An Annotated Bibliography of Selected Music for Saxophone by Charles Ruggiero with an Analysis of Interplay for Soprano Saxophone and Piano

An Annotated Bibliography of Selected Music for Saxophone by Charles Ruggiero with an Analysis of Interplay for Soprano Saxophone and Piano

Date: May 2010
Creator: Bradfield, Ann
Description: Ruggiero's contributions to contemporary music are noteworthy. They include 27 works written for solo instruments, voice, as well as chamber groups and large ensembles. This study serves as an annotated bibliography of selected works written for saxophone by Charles Ruggiero. They include a piece for large chamber ensemble, Dig: From Tunes My Grandmother Heard (2009), a trio for flute, clarinet, and alto saxophone titled Echoes of "Piano Red" (2006), two saxophone quartets, Dig: JSB 1 (2003), and Three Blues for Saxophone Quartet (1981), two works for alto saxophone and piano, Night Songs and Flights of Fancy (2005), and Strayhorn (1999-2000), one piece for soprano saxophone and piano, Interplay for Soprano Saxophone and Piano (1988), a single movement work for alto saxophone, piano, winds, and percussion, Dance Complusions (2004), one duo for tenor saxophone and percussion, Sizzlesax II (2001), one concerto for soprano saxophone and piano, Concerto for Soprano Saxophone and Orchestra (1995, rev. 1999), and a trio for violin, alto saxophone, and piano, Dances and Other Movements (1983, rev. 1984). In addition, an analysis of Ruggiero's composition Interplay for Soprano Saxophone and Piano offers an insight into the compositional style of the composer.
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An Annotated Bibliography of Selected Repertoire for Alto Saxophone and Piano for Developing College-Level Alto Saxophonists, with an Analysis of Yvon Bourrel's  Sonate Pour Alto Saxophone Et Piano

An Annotated Bibliography of Selected Repertoire for Alto Saxophone and Piano for Developing College-Level Alto Saxophonists, with an Analysis of Yvon Bourrel's Sonate Pour Alto Saxophone Et Piano

Date: December 2005
Creator: Kallestad, Scott D.
Description: In this study the author addresses the problem of finding quality repertoire for young college-level saxophonists. By examining graded repertoire lists from a variety of college and university saxophone instructors, the author has compiled a list of 180 works for alto saxophone and piano. Twenty-four well-known works of a difficulty-level appropriate for freshman and sophomore players are identified and annotated. Each annotation consists of bibliographical information, a biographical sketch of the composer, a difficulty rating of eight elements of performance, a discussion of performance considerations, and a bibliography of available recordings. The eight elements of performance included in the difficulty rating are: Meter, key signatures, tempo, note-values, rhythm, articulation, range, and dynamic levels. Each of these facets is graded using a six-point difficulty scale. One work from the select list, Yvon Bourrel's Sonate Pour Saxophone Alto et Piano, has been analyzed in greater detail with regard to thematic material and key areas to provide in-depth information that, hopefully, will help the student gain a deeper understanding of that work and as a result perform the piece with greater artistry.
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Anthoni van Noordt: Historical and Analytical Analysis of His Tabulatuurboeck van Psalmen en Fantasyen of 1659

Anthoni van Noordt: Historical and Analytical Analysis of His Tabulatuurboeck van Psalmen en Fantasyen of 1659

Date: May 2008
Creator: Javadova, Jamila
Description: This dissertation presents a historical and analytical study of the organ works of Anthoni van Noordt. Van Noordt's Tabulatuurboeck is one of the most important music publications in mid-seventeenth-century Netherlands. It gives unique, valuable information on organ playing of its time. The process of discrete analysis has led to the identification and exploration of many details, such as extensive use of pedal, the reliance of the composer on rhetorical principals of composition, and his integration of the Italian and German principals of ensemble techniques. The dissertation is divided into three major parts. The first part contains chapters on van Noordt's biography based on available archival documents as well as a chapter on the organ and its role in seventeenth -century Amsterdam. The second part is solely dedicated to the Tabulatuurboeck examining the physical and technical features of the publication including the style of the publication, the letter and staff notation, hand positions, and rhetorical components. Finally, the third part studies the music and its peculiar characteristics with separate chapters on the variations and fantasias.
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Antonín Dvořák’s Piano Concerto in G Minor, Opus 33: A Discussion of Musical Intent and Pianistic Effectiveness in Vilém Kurz's Version of the Solo Piano Part

Antonín Dvořák’s Piano Concerto in G Minor, Opus 33: A Discussion of Musical Intent and Pianistic Effectiveness in Vilém Kurz's Version of the Solo Piano Part

Date: August 2010
Creator: Tang, Wen-Chien
Description: Since its premiere in 1878, Antonín Dvořák’s Piano Concerto in G Minor has been underrated and held in low regard by musicologists, critics, performers and audiences alike. Vilém Kurz (1872-1945), a Czech pianist and pedagogue, revised and reworked the piano solo part to incorporate what he considered to be added brilliance and pianistic effectiveness. However, the revised version has not increased the popularity of the work. In recent decades, this concerto has begun to appear more often in the programs and recordings are currently available, utilizing either the original piano part or Kurz's revision or a combination of both. In order to gain a broader analytical perspective and achieve a more authentic interpretation of the piece, a thorough understanding of the relation between Dvořák’s work and Kurz's revisions is indispensable. This study examines these adaptations and compares them with Dvořák’s scoring in order to gain further insight to Kurz's musical intent and pianistic aims. Examples from all movements are evaluated vis-à-vis the original to determine their purpose and musical validity.
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Aphorismen, Capriccio, and Heptameron for Piano Solo By Jürg Baur: a Performer's Guide

Aphorismen, Capriccio, and Heptameron for Piano Solo By Jürg Baur: a Performer's Guide

Access: Use of this item is restricted to the UNT Community.
Date: December 2012
Creator: Park, Esther
Description: The purpose of this dissertation is to give instruction regarding the performance of three important piano works by Jürg Baur (1918-2010). Aphorismen, Capriccio, and Heptameron stand out as his most significant piano works both because of their length and because of their pianistic complexity. Since Baur had a successful career as both teacher and composer during his lifetime, his acclaimed works received many honors in Germany. His works can be performed by intermediate to advanced students. Intermediate students can easily offer simpler pieces like Aphorismen in competitions, while pieces like Capriccio and Heptameron better are suited to a more advanced level. Although some of his compositions are difficult to perform compared with other modern German works, Baur's music is more accessible. In the article, "Auf der Spuren der alten Zeit" Baur is quoted to state that Paul Hindemith and Bela Bartok's music influenced his own compositional ideas. However, although Baur is a modern composer, he didn't write in a totally atonal style, but rather attempted to broaden tonality. While Heptameron is atonal, Aphorismen and Capriccio give the impression of tonality, thus they are more accessible to the audience. I was fortunate enough to study Aphorismen with Baur as well as ...
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The Application of Common-practice Elements in Modern Music: Examining Examples of Musical Continuity in Selected Piano Works of James R Wintle

The Application of Common-practice Elements in Modern Music: Examining Examples of Musical Continuity in Selected Piano Works of James R Wintle

Date: December 2014
Creator: Kim, Sung-Yun
Description: The purpose of this dissertation is to analyze the ways in which distinguished American composer James RayWintle (1942-2013) addresses the problem of formal unity and incorporates previous musical styles in his post-tonal compositions. Because post-tonal music lacks many of the pillars that create tonal structure, it can be difficult for a composer to maintain a sense of form when writing in this style. Wintle attempts to circumvent this issue by incorporating common-practice elements, such as formal sections, familiar stylistic gestures, and referential-pitch organization into his works. For this analysis, the author has selected three of Wintle’s piano compositions that best represent his compositional approach and diverse techniques: Album Leaves - A Set of Five Character Pieces for Piano (2001), Scherzino (Street Scenes of Ovada) for Solo Piano (2010), and Four Miniatures for Piano Four Hands (2003). Wintle’s artistic style borrows extensively from Western classical music, encompassing various historical periods and quoting several major composers. Additionally, he incorporates a variety of musical styles into his chamber works and those for solo piano. These range from the dance suites of the French Baroque and Brahmsian-character pieces to American ragtime. This research also describes Wintle’s compositional style and his borrowing of 18th- and ...
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An Approach to the Analytical Study of Jung-Sun Park's Choral Work: Arirang Mass

An Approach to the Analytical Study of Jung-Sun Park's Choral Work: Arirang Mass

Date: August 2006
Creator: Im, Changeun
Description: The significance in Jung-Sun Park's Arirang Mass is the discovery of artistic value in folk song and its applicability to art music. By using fragments of the Arirang folk songs, or by imitating its musical character, composer could create and develop musical characteristics that are recognizably Korean. The work exhibits his remarkable compositional style, which shows a relationship between Korean traditional style and Western style. This analysis demonstrates specific examples of the elements of Korean traditional folksong, such as Sikimsae, Jangdan, Han, and pentatonic scales which are permeated into this mass setting, and how composer uses fragments of the Arirang tune.
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An Approach to the Critical Evaluation of Settings of the Poetry of Walt Whitman: Lowell Liebermann's  Symphony No. 2

An Approach to the Critical Evaluation of Settings of the Poetry of Walt Whitman: Lowell Liebermann's Symphony No. 2

Date: May 2003
Creator: Kenaston, Karen S.
Description: Walt Whitman's poetry continues to inspire composers of choral music, and the growing collection of musical settings necessitates development of a standard evaluative tool. Critical evaluation of the musical settings of Whitman's work is difficult because the extensive body of verse is complex and of uneven quality, and lack of common text among compositions makes comparison problematical. The diversity of musical styles involved further complicates the issue. Previous studies have focused on either ideology or style, but none have united the two critical approaches, thus restricting potential for deeper understanding of the music. This study proposes an approach to critical evaluation of Whitman settings that applies hermeneutics, or a blend of analysis and criticism, to the process. The hermeneutic approach includes an examination of the interrelationship between musical form and style and the composer's ideology, which is revealed through his/her treatment of Whitman's poetry and analyzed in light of cultural influences. Lowell Liebermann (b. 1961) has composed a large scale choral/orchestral setting of Whitman texts in his Symphony No. 2, opus 67 (1999). The selection, placement, and treatment of poetry in Symphony No. 2 provide a window into the composer's mind and his place in the current musical climate. Liebermann's ...
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The Art of Borrowing: Quotations and Allusions  in Western Music

The Art of Borrowing: Quotations and Allusions in Western Music

Date: May 2016
Creator: Lee, MyungJi
Description: Music travels across the past in the form of composers borrowing from each other. Such musical borrowings and quotations involve not only the use of melodic materials but also musical structures, texts, symbolism and other types of inspiration. The pre-existing musical idea being used is linked to a specific memory of a particular composer and time. The artistic allusions of composers connect the present and the past. Music also travels across the present and into the future. The outcome of contemporary composers borrowing from each other influences the present period and affects later composers' musical inspiration, i.e., it affects future composers, and therefore, the future. Composers frequently refer to melodies or musical idea from contemporaries and reinterpret them in their own compositions. This is largely because composers do not write in isolation and have been inspired and influenced by contemporary musicians and cultural contexts. However, these musical borrowings sometimes raise questions about the composers' creativity and authenticity. This is largely due to the nature of inspiration and imagination, which determines who or what is original. With this in mind, why do composers still borrow musical ideas despite the risks involved? In what ways do they overcome criticism and demonstrate the ...
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The Art of Recording the American Wind Band

The Art of Recording the American Wind Band

Date: May 2006
Creator: Genevro, Bradley James
Description: Wind bands have been recording for over one hundred years. Through advancements in both technology and process, recordings have made a monumental impact on the wind band and its repertoire. These advancements have created clarity regarding the performance practice of pieces and helped to preserve the wind band repertoire. Many early works have gained masterwork status due, in large part, to the fact that recordings have preserved them. The increase in popularity of recording and, in particular, the wind band, warrants an investigation into the various aspects of the process. Additionally, gaining insight from wind band professionals who record will help to evaluate the contributions that recording has made to the education of performers and listeners, the preservation of repertoire and the artistic enhancement of the wind band. Each chapter explores aspects of the recording process and how those aspects have shaped the wind band, its repertoire and performance practice. Information from conductors, composers and engineers provide valuable insight pertaining to the educational, historical and artistic components of the recording process. The goal of all involved in the recording process should be the pursuit of technical perfection, which does not eclipse the ultimate musical goals of the project and the ...
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Art Song by Turn-of-the-Century Female Composers

Art Song by Turn-of-the-Century Female Composers

Date: December 1993
Creator: Click, Sarah, D.
Description: Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of ...
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Áskell Másson’s Solos for Snare Drum: Maximizing Musical Expression Through Varying Compositional Techniques and Experimentation in Timbre

Áskell Másson’s Solos for Snare Drum: Maximizing Musical Expression Through Varying Compositional Techniques and Experimentation in Timbre

Date: December 2015
Creator: O’Neal, John Micheal
Description: This dissertation and accompanying lecture recital explores the musical elements present in Áskell Másson’s three solos for snare drum, PRÍM (1984), KÍM (2001) and B2B: Back to Basics (2010). Two of the primary challenges for the performer when playing solo literature on a non-pitch oriented instrument are identifying thematic structures and understanding how to interpret all innovative sound production techniques employed within the music. A thematic and compositional analysis, as well as an investigation into the experimentation of timbre found in Másson’s three pieces for solo snare drum will help to clarify the musical complexities that are present throughout.
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Aspects of Performance in Three Works for Piano and Tape : Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages

Aspects of Performance in Three Works for Piano and Tape : Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages

Date: May 1993
Creator: Brandenburg, Octavia
Description: This dissertation primarily concerns performance aspects in compositions for piano and tape, using three specific works as the basis for discussion: Larry Austin's Sonata Concertante, Thomas Clark's Peninsula, and Phil Winsor's Passages. These compositions are representative of the medium as a whole, yet each offers its own unique set of performance problems.
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The Assimilation of Baroque Elements in Ferruccio Busoni's Compositions as Exemplified by the Fantasia nach Bach and the Toccata

The Assimilation of Baroque Elements in Ferruccio Busoni's Compositions as Exemplified by the Fantasia nach Bach and the Toccata

Date: August 2009
Creator: Van Schalkwyk, Willem Andreas Stefanus
Description: Ferruccio Busoni (1866-1924) has a firmly established reputation as one of the giant pianists of his age, yet his compositions are largely neglected both in musicological circles and on the concert stage. A better understanding of his thought processes might lead to a greater appreciation of his art, and the acknowledgement of his reverence for the music of Bach is an important key to such an understanding. Busoni's Fantasia nach Bach and Toccata, although two decidedly dissimilar compositions in terms of purpose and conception, represent two manifestations of Busoni's respect for Bach, whether it be in the form of assimilating Bach's compositions into one of his own, or by creating an original work to the same mold as some of Bach's works.
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The Automatic Compensating Euphonium As the Ideal Choice for Performing Music Composed Originally for Ophicleide

The Automatic Compensating Euphonium As the Ideal Choice for Performing Music Composed Originally for Ophicleide

Date: unknown
Creator: Demy, Richard R.
Description: None
Contributing Partner: UNT Libraries
The “Avant-pop” Style of Jacob Ter Veldhuis: Annotated Bibliography of Boombox Pieces with an Analysis of “Pimpin’” for Baritone Saxophone and Boombox

The “Avant-pop” Style of Jacob Ter Veldhuis: Annotated Bibliography of Boombox Pieces with an Analysis of “Pimpin’” for Baritone Saxophone and Boombox

Date: August 2015
Creator: Roberts, Sarah L.
Description: JacobTV has spent over thirty years utilizing his interest in American pop culture as the muse upon which he creates his works. Sources of popular culture including commercials, television evangelists, political speeches, interviews, and urban pop songs have earned him the title of the “Andy Warhol of new music.” His contributions to classical music are significant and include works for solo instruments and voice, chamber ensembles, and large ensembles. This study serves as an annotated bibliography of selected pieces written for saxophone and boombox written by JacobTV. Chapter 2 provides a brief historical background of electronic music and chapter 3 describes JacobTV’s compositional style and vocabulary. The pieces included in the bibliography of chapter 4 are Believer (2006) for baritone saxophone and soundtrack; Billie (2003) for alto saxophone and soundtrack; Buku (2006) for alto saxophone and soundtrack; Garden of Love (2002) for soprano saxophone and soundtrack; Grab It! (1999) for tenor saxophone and soundtrack; May This Bliss Never End (1996) for tenor saxophone, piano, and soundtrack; TaTaTa (1998) for tenor and baritone saxophone and soundtrack; Heartbreakers (1997-98) for saxophone quartet, soundtrack, and video; Jesus Is Coming (2003) for saxophone quartet and soundtrack; Pitch Black (1998) for saxophone quartet and soundtrack; ...
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