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  Partner: UNT Libraries
 Decade: 2000-2009
 Degree Discipline: Composition
Aesthetic Models and Structural Features in Concerto for Solo Percussion and Concert Band

Aesthetic Models and Structural Features in Concerto for Solo Percussion and Concert Band

Date: December 2005
Creator: Anderson, Stephen Reg
Description: Concerto for Solo Percussion and Concert Band was commissioned by Staff Sergeant Rone Sparrow, a percussionist with the West Point Military Academy Band. Funding for the project was provided by the Barlow Foundation. The piece was premiered April 13, 2005 in the Eisenhower Hall Theater at West Point, New York. Rone Sparrow performed with the USMA band, and Colonel Thomas Rotondi Jr., Commander/Conductor, conducted the piece. The concerto consists of three movements, and each movement features a different instrument: the first features marimba, the second, vibraphone, and the third movement features the drum kit together with a rhythm section (piano, bass, and drums). In addition to the piece, the dissertation paper discusses important technical detail related to the piece, including: harmony, form, rhythm, programmatic ideas as they relate to motivic strands, and the process of generating and discarding material. The paper also focuses on a number of factors that were influential to the piece, such as postmodern philosophy.
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And Drops of Rain Fall Like Tears: A Composition for Electroacoustic Music and Video

And Drops of Rain Fall Like Tears: A Composition for Electroacoustic Music and Video

Date: May 2002
Creator: Thompson, Michael Allen
Description: And Drops of Rain Fall Like Tears is a composition for electroacoustic music with an optional ambient video component. The composition consists of a single movement electroacoustic work twenty-two minutes in duration. The piece creates an immersive sonic environment within the confines of a typical concert space, thereby recreating the powerful temper and subtle beauty of nature from different sonic perspectives. The paper is divided into four chapters, each discussing an element of the piece in detail. The introduction presents background information and compositional approach for the composition. Chapters 1 through 4 present detailed information related to the creation of both the electroacoustic music and video elements of the piece. Chapter 4 contains relevant information to the performance of the piece.
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Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis

Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis

Date: May 2009
Creator: Gedosh, David
Description: Augeries is a multi-channel electro-acoustic composition for flute, clarinet, percussion, and tape. It is intended to be diffused through an 8-channnel playback system. Inspired by the first four lines of William Blake's Augeries of Innocence, Augeries captures the qualitative aspects of Blake's poetry by presenting the listener with an equally aperspectival aesthetic experience. The small-scale structure reflected on the large-scale form - the infusion of vastness and expansiveness into the fragile and minute. Augeries incorporates techniques of expansion and contraction, metonymic relationships, dilation and infolding of time, and structured improvisation to create an experience that is designed to explore the notion of musical time, and to bring to the listener the sense of time freedom. The critical analysis suggests that the increase in the notions of musical time, the aesthetics with which they conform, and the new time forms created, encapsulate communicative significance. This significance exists within a horizon of meaning. Semiotics illuminates an understanding of the structuring techniques used to render time as an area of artistic play. Understanding the aesthetics and mechanisms through which these techniques can be used constitutes a shared horizon of meaning. The concepts of cultural phenomenologist Jean Gebser, as explicated in The Ever-Present Origin, ...
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Breaking Through: A Composition for Symphony Orchestra

Breaking Through: A Composition for Symphony Orchestra

Access: Use of this item is restricted to the UNT Community.
Date: August 2002
Creator: Dribus, John Alexander
Description: Breaking Through is a single-movement composition for symphony orchestra based on a fourteen-note melody. Every harmonic and melodic figure except the bass line is derived from this source melody. The structure of the work is based on a number of musical dichotomies that work on both local and large-scale levels. The local dichotomies contrast consonance with dissonance and ambiguity with clarity (in respect to texture and rhythm). The dichotomy of two-part form versus three-part form and the dichotomy of simplicity versus complexity operate on the large scale. The unity lended by the single source melody coupled with the contrasts furnished by the aforementioned dichotomies allow Breaking Through to be both coherent and interesting.
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Clestrinye [El Carnaval del Perdón]: Traditional rituals in intermedia composition.

Clestrinye [El Carnaval del Perdón]: Traditional rituals in intermedia composition.

Date: August 2008
Creator: Salazar, Camilo
Description: In Part I of this thesis, I examine the use of Latin American rituals, ceremonies, and traditional folklore as conceptual and compositional material; studying and re-contextualizing concepts, cultures, and ideologies, and introducing them to foreign audiences. I explore issues such as laptop improvisation, interaction with other performance forces, and the utilization of the social elements of non-western celebrations, as explored in Clestrinye, a work for live and fixed electronics, mixed ensemble, dancers, and painters.
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Clockwork Plums

Clockwork Plums

Date: May 2004
Creator: Bradford, Joshua
Description: Based on a story by Joshua Forehand with additional lyrics by Joshua Bradford, Clockwork Plums is an original musical work that integrates techniques and ideas from composers and different cultures. The accompanying essay about the work includes a summary of the story, "Clockwork Plums," some historical background covering 30 years of pop music, an analysis focusing on the use of African and Reichian compositional devices, and discussion about controlled improvisation and use of the voice as compositional tools. The music consists of three sections scored for 5 voices (lead male vocalist and SATB), flute (doubling tenor saxophone), Bb clarinet (doubling baritone saxophone), violin, cello, piano, electronic keyboard, electric guitar, electric bass, drum set, and percussion.
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Cultural and Technical Perspectives on Winter Landscape

Cultural and Technical Perspectives on Winter Landscape

Date: December 2009
Creator: Wang, Jing
Description: Winter Landscape is an interactive composition for erhu (Chinese two-stringed fiddle), flute, piano, and Max/MSP interactive computer music system. The total duration of the piece is approximately 15 minutes. Winter Landscape serves to demonstrate one particular approach to exploring the possibilities afforded in an interactive paradigm within a cross-cultural context. The work is intended to convey my personality and identity as a contemporary Chinese composer through diverse cultural and musical influences drawn to this particular piece while creating a balance between traditional and modern sounds. The influences of Chinese philosophy (especially Chán) and the essence of Chinese traditional music play a prominent role as demonstrated in the formation of structures, expressions, and concept of Yun in the work; these influences also play a great role in determining the instrumentation and basic pitch structures of the work. However, this work is equally influenced by techniques and practices of modern Western classical music. These diverse influences hopefully have resulted in a unique work that truly does represent a cross-synthesis of these varying influences. In Winter Landscape, the interaction that takes place between the computer and the live musician is intended to reveal the responsive human/machine relationships. The computer constantly shifts its roles ...
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Earth Ascending: A composition in three movements for female voice, electroacoustic music, and video

Earth Ascending: A composition in three movements for female voice, electroacoustic music, and video

Date: August 2000
Creator: Lillios, Elainie
Description: Earth Ascending is a composition in three movements scored for female voice, electroacoustic music, and video. Composed in the Year 2000, Earth Ascending lasts approximately sixteen minutes and was created specifically for live performance in which all three elements combine to create a sonic and visual environment. As such, no single element has greater importance than any other, with each of the three performing forces assuming a foreground role at various times throughout the work. Earth Ascending is defined by a single poem written by contemporary female British poets Jeni Counzyn, Jehanne Mehta, and Cynthia Fuller. The movements are named according to the title of each poem: Earth-Body, Light-Body; Wringcliff Beach; and Pool. The movements are separated in performance by five seconds of silence and black on the video screen. The paper accompanying the score of Earth Ascending is divided into five chapters, each discussing in detail an element central to the composition itself. The Introduction presents background information, general ideas, and approaches undertaken when creating the work. Chapters 1 through 3 investigate in detail the content of the electroacoustic music, voice, and video. Chapter 4 discusses scoring techniques, revealing approaches and methods undertaken to solve issues relating to notation ...
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Five Seasons: A composition for flutist and percussionist

Five Seasons: A composition for flutist and percussionist

Access: Use of this item is restricted to the UNT Community.
Date: August 2001
Creator: Kim, Chol-Ho
Description: Five Seasons is a musical work for flute and percussion. The flutist alternately performs on the C flute with a B foot, alto flute, piccolo, and bass flute in each movement. The percussionist also plays different instruments in each movement: the vibraphone for Mid-Summer; the xylophone for Fall; the woodblock, temple block, and cowbells for Spring; the glockenspiel for Summer; and the marimba for Winter. The five movements of this work - Mid-Summer, Fall, Spring, Summer, and Winter - are based on a combination of Eastern performing practices with Western instruments. The musical characteristics are based on the techniques of fifteenth-century (e.g., isorhythmic technique) and twentieth-century Western music.
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General Process in the Creation of Estruendos and Principal Structural Elements of the Composition

General Process in the Creation of Estruendos and Principal Structural Elements of the Composition

Date: May 2002
Creator: Cuellar Camargo, Lucio Edilberto
Description: My composition, Estruendos, is a work for large symphonic orchestra, guitar and computer-generated and processed sounds on CD. The work lasts 23 minutes and 45 seconds. My dissertation is composed of two parts: Part One comprises the analysis and Part Two comprises the score. Part One gives a brief background of my compositional dialect and aesthetics. It also includes a discussion of the compositional process and general overview of Estruendos. In addition, it illustrates the primary role the placement of sonic events in time and timbral structure play in the pathos of Estruendos.
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