You limited your search to:

  Partner: UNT Libraries
 Department: College of Music
A Different Drummer: A Chamber Opera

A Different Drummer: A Chamber Opera

Access: Use of this item is restricted to the UNT Community.
Date: May 1999
Creator: Friedman, Arnold Jacob
Description: A Different Drummer is a chamber opera adaptation of Donald Davis's story "A Different Drummer" from his collection Listening for the Crack of Dawn, published by August House. The opera lasts about seventy minutes, and calls for a cast of three and an orchestra of sixteen players. It contains a prologue, epilogue and four scenes in a single act. The score is prefaced by a paper describing the musical strategies employed in setting the story as an opera. Three chapters describe the adaptation from short story to opera, the essential musical elements, and details of the application of the musical elements in each scene of the opera. The libretto is presented in the fourth chapter.
Contributing Partner: UNT Libraries
Paintings and Palaces, or the Lament of the Burger Flipper

Paintings and Palaces, or the Lament of the Burger Flipper

Access: Use of this item is restricted to the UNT Community.
Date: May 1999
Creator: Salfen, Kevin McGregor
Description: The opera is scored for chamber orchestra consisting of one oboe, two Bb clarinets, two horns in F, one trumpet in C, one tenor trombone, two percussionists (playing snare drum, bass drum, tambourine, wood block, triangle, suspended cymbal, crash cymbal, agogo bells, cow bell, brake drum, metal whistle, whip, large gong, Glockenspiel, chimes, timpani in F (low) and C), eight or more violins in two parts, six or more violas in two parts, and eight or more cellos in two parts. The characters are Alejandro Jiminez, a dramatic tenor; the Manager of Burger Palace, a baritone; the Suits 1/Fast Food Workers, a choir (SATB) and the Suits 2/Customers, a second choir (SATB), each ideally consisting of eight vocalists for a total of sixteen; the Daydream Figures, which are mimed parts; the Man with Gun, which is a spoken part. The opera, in one act consisting of six scenes and an interlude, is based on a libretto by the composer. There is only one scene change: from an essentially empty stage to a fast food restaurant in Scene 4. The length of the work is approximately sixty to sixty-five minutes.
Contributing Partner: UNT Libraries
"Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage

"Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage

Date: December 1999
Creator: Boutwell, Brett N.
Description: John Cage’s Concerto for Prepared Piano and Chamber Orchestra (1950-51) holds a unique position within the composer’s oeuvre as the first work based in part on chance-derived compositional procedures. Cage entered into such practice gradually, incrementally abandoning subjective taste and personal expression through the course of the work. Drawing from the philosophical framework provided by Cage’s "Lecture on Nothing" (1950) and "Lecture on Something" (c. 1951-52), this thesis explores the aesthetic foundations of the concerto and examines Cage’s compositional methodology throughout its three movements. Special attention is paid to the procedure underlying the first movement, whose analysis is based largely on the composer’s manuscript materials for the work.
Contributing Partner: UNT Libraries
Hearing History: Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music

Hearing History: Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music

Date: December 1999
Creator: Fulton, Stephen L.
Description: Duo Chopinesque by Michael Hennagin and Chameleon Music by Dan Welcher represent two of the most significant percussion ensemble compositions written in the last twenty years. Both works are written for the mostly mallet type of percussion ensemble wherein the keyboard instruments predominate. However, the most unique aspect of these two pieces is their use of musical quotation. Duo Chopinesque borrows Chopin's Prelude in E minor in its entirety, while Chameleon Music borrows portions from four Mozart Sonatas. This paper places each work within the history of the percussion ensemble, and in the larger history of musical quotation in the twentieth century. In addition, the compositional characteristics of both works are examined with particular emphasis on each composer's use of borrowed material from the music of Mozart and Chopin. Particular attention is paid to the relationship between quoted material and newly composed rhythmic motives.
Contributing Partner: UNT Libraries
The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing

The Resurrexit from Hector Berlioz's Messe solennelle (1825): A Case Study in Self-Borrowing

Date: December 1999
Creator: Gill, Sarah M.
Description: Hector Berlioz's Messe solennelle, his first publicly performed work, was important to his establishment in Paris as a composer. Although he later destroyed the Mass, he reused parts of the Resurrexit movement in three of his later works: Benvenuto Cellini (1836), the Grand messe des morts (1837), and the Te Deum (1849). This study examines the Resurrexit and its subsequent borrowings. In each instance that Berlioz borrowed from the Resurrexit, he extracted large sections and placed them in the context of later works. Each time that borrowing occurred, Berlioz constructed the surrounding music so that portions from the Resurrexit would fit stylistically and a seamlessly into the texture. In each borrowing, he left the melody unaltered, changing harmony and orchestration instead. This pattern of borrowing demonstrates that Berlioz developed his concept of melody early in his career, and that his method of self-borrowing was consistent in each subsequent use of the Resurrexit.
Contributing Partner: UNT Libraries
A Study of Franz Liszt's Concepts of Changing Tonality as Exemplified in Selected "Mephisto" Works

A Study of Franz Liszt's Concepts of Changing Tonality as Exemplified in Selected "Mephisto" Works

Date: December 1999
Creator: Kim, Jung-Ah
Description: The purpose of this study is to analyze four late solo piano works of Franz Liszt that all bear the name "Mephisto" in their titles, in order to examine, identify and trace the development in the use of harmonic and melodic idioms that produced non-tonal or "omnitonic" effects, on the one hand, and to emphasize the need to duly accord Liszt a recognition of historical position as the nineteenth century's most influential avant garde composer whose attitude and approach had helped to shape much of the ideal of the atonal composition of this century, on the other. Chapter One presents the issues and the purpose of this study; Chapter Two investigates the principal forces that shaped Liszt's mature compositional style; Chapter Three identifies and discusses the requisites for tonal and atonal compositions; Chapter Four analyzes the four "Mephisto" dances: Waltz no.1 (1860); Polka (1883); Waltz no.3 (1883); and Bagatelle (1885). Chapter Five summarizes the findings from this study and attempts to identify in these late works of Liszt a pattern of conscientious, continuous, purposeful and progressive use of devices toward creating musical effect that would defy the established tonal requisites and undermine the tonal orientation in the composition. This study ...
Contributing Partner: UNT Libraries
Nobody's Fool: A Study of the Yrodivy in Boris Godunov

Nobody's Fool: A Study of the Yrodivy in Boris Godunov

Date: December 1999
Creator: Pollard, Carol J.
Description: Modest Musorgsky completed two versions of his opera Boris Godunov between 1869 and 1874, with significant changes in the second version. The second version adds a concluding lament by the fool character that serves as a warning to the people of Russia beyond the scope of the opera. The use of a fool is significant in Russian history and this connection is made between the opera and other arts of nineteenth-century Russia. These changes are, musically, rather small, but historically and socially, significant. The importance of the people as a functioning character in the opera has precedence in art and literature in Russia in the second half of the nineteenth-century and is related to the Populist movement. Most importantly, the change in endings between the two versions alters the entire meaning of the composition. This study suggests that this is a political statement on the part of the composer.
Contributing Partner: UNT Libraries
Techniques of Sensual Perception: The Creation of Emotional Pathways

Techniques of Sensual Perception: The Creation of Emotional Pathways

Access: Use of this item is restricted to the UNT Community.
Date: December 1999
Creator: Henry, Jon L.
Description: Some artists strive to create artwork that has aesthetic value. If a piece of artwork has the ability to capture the attention of an audience, it must contain strong sensual attributes. Thus, understanding how to design an art form to contain strong sensual attributes may increase the possibility of an aesthetic experience. Since aesthetics is an experience of sensations perceived when in contact with a creative form in any artistic discipline, it is necessary for an artist to understand the nature of the sensual experience. In understanding the sensual experience, artists may be able to create techniques to enhance the aesthetic experience of their work. My video piece, entitled Ararat is a study of methods to enhance the sensual experience. I hope to accomplish this by means of using techniques that optimize an audience's perceptual experience.
Contributing Partner: UNT Libraries
Symmetrical Features of Nikolai Medtner's Language: The Grzovaya Sonata, Opus 53 No. 2

Symmetrical Features of Nikolai Medtner's Language: The Grzovaya Sonata, Opus 53 No. 2

Access: Use of this item is restricted to the UNT Community.
Date: December 1999
Creator: Pitts, James L.
Description: Nikolai Medtner's works evidence an intense interest in symmetrical designs. This concern is manifest at all levels, from the large scale proportions of his numerous ingenious sonata forms to the symmetrically constructed themes and motives. Medtner's works include several instances of palindromic themes and periods. Some palindromic contours are achieved through immediate inversion, creating expansive, symmetrical waves. One of Medtner's thumbprints, symmetrical contrary voice-leading, consists of two or more voices which systematically expand or contract in exact mirror fashion. The contrary movement is usually stepwise, and may be either chromatic or diatonic. Occasionally even larger intervals, such as thirds and fourths, are subjected to this favourite mirroring technique. Such symmetrical expansion and contraction often controls the harmonic progression of several consecutive bars. One of the most striking aspects of Medtner's music is his sophisticated harmonic language. He was fascinated with symmetrical harmonic designs, such as the tritone, the French sixth chord, and the octatonic scale, and made endless and increasingly intricate explorations into these stuctures and the ways in which these apparently nontonal, non-hierarchical forms could be coordinated with the fundamental hierarchy of asymmetrical tonal forms, including triads, major and minor scales, and tonic-dominant relations. Medtner's late work, the Grozovaya ...
Contributing Partner: UNT Libraries
As Darkness Falls: A Composition for Wind Ensemble

As Darkness Falls: A Composition for Wind Ensemble

Access: Use of this item is restricted to the UNT Community.
Date: December 1999
Creator: Prinz, Kendall R.
Description: As Darkness Falls is a composition that explores our interaction with several aspects of darkness through the use of musical imagery. The imagery attempts to reflect the moods, feelings, and impressions of a person as he or she interacts with darkness. The non-programmatic character of the composition allows listeners to superimpose their own experiences onto the musical tapestry in order to manifest a personal connection between the listener and the music. As Darkness Falls is a composition scored for a minimum instrumentation of piccolo, 6 flutes, 3 oboes, 3 bassoons, 9 B-flat clarinets, B-flat bass clarinet, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 4 B-flat trumpets, 4 horns in F, 3 tenor trombones, bass trombone, 2 euphoniums, 2 tubas, timpani, and 4 percussionists. The music consists of three movements (slow-slow-fast) lasting a total of approximately seventeen minutes. The duration of each of the three movements is six minutes, four and one-half minutes, and six and one-half minutes, respectively. The document also contains an analysis of the work by the composer. The analysis explores the compositional style of the work, focusing on musical aspects within each movement that were governing parameters in the compositional process.
Contributing Partner: UNT Libraries
'...and one of time.': A Composition for Full Orchestra with Narration

'...and one of time.': A Composition for Full Orchestra with Narration

Access: Use of this item is restricted to the UNT Community.
Date: December 1999
Creator: Rinker, John Thomas
Description: ‘...and one of time.' is a reinterpretation of a small musical moment from Philip Glass' opera, Einstein on the Beach, centered around the phrase "Berne, Switzerland 1905." This reinterpretation is realized through the use of several different compositional techniques including spectral composition, micropolyphony and dodecaphony, as well as the application of extra-musical models developed by Alan Lightman, John Gardner, Italo Calvino and Albert Einstein.
Contributing Partner: UNT Libraries
An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others

An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others

Date: December 1999
Creator: Varner, Michael L.
Description: Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach ...
Contributing Partner: UNT Libraries
Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble

Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble

Date: December 1999
Creator: Makela, Steven L.
Description: Reconstructions is a nine-movement composition for solo soprano, chorus, and wind ensemble using texts from several of Emily Dickinson's poems. The soloist represents the main character in this dramatic work, and the narrative structure portrays abstract moments in this character's life. While the narrative structure of the reconstructed fragments is important to the form of the composition, other elements are also significant. Pitch structures generated from set theoretical systems, in addition to cyclic and palindromic structures are utilized throughout. Timbre also delineates the form, as various combinations of instruments and chorus create an evolving environment in which the soloist resides.
Contributing Partner: UNT Libraries
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 ...
Contributing Partner: UNT Libraries
Beyond the Human Voice: Francis Poulenc's Psychological Drama La Voix humaine (1958)

Beyond the Human Voice: Francis Poulenc's Psychological Drama La Voix humaine (1958)

Date: May 2000
Creator: Beard, Cynthia C.
Description: Francis Poulenc's one-character opera La Voix humaine (1958), a setting of the homonymous play by Jean Cocteau, explores the psychological complexities of an unnamed woman as she experiences the end of a romantic relationship. During the forty-minute work, she sings in a declamatory manner into a telephone, which serves as a sign of the unrevealed man at the other end. Poulenc uses musical motives to underscore the woman's changing emotional states as she recalls her past relationship. The musical dramaturgy in this work resignifies Debussy's impressionist symbolism by collapsing devices used in Pelléas et Mélisande in a language that shifts between octatonicism, chromaticism, harmonic and melodic whole tone passages, and diatonicism. This late work recontextualizes elements in Poulenc's Dialogues des Carmélites (1953-56), and the end of the opera provides a theme for his Sonate pour Clarinet et Piano(1962), as Poulenc reflects on his youthful encounters with Cocteau, Erik Satie, and Les Six.
Contributing Partner: UNT Libraries
Heart of the Fathers, for Wind Symphony

Heart of the Fathers, for Wind Symphony

Date: May 2000
Creator: Anderson, Stephen Reg
Description: Heart of the Fathers is a programmatic, seven movement work for wind symphony depicting my ancestors and their role as part of the history of The Church of Jesus Christ of Latter-day Saints. The movements represent their spiritual experiences, labors, times of joy, persecution, migration, and finally their arrival and success in their new homeland. The piece is organized in seven movements. Each movement represents a different portion of history leading to the western migration of my ancestors. The programmatic music contains a variety of symbols depicting the experiences of the pioneers. In the paper, each chapter addresses an individual movement. For each movement, the following information is provided: the historical events that inspired the piece, the musical symbols that characterize the program, and an analysis of the function of the music.
Contributing Partner: UNT Libraries
The Effect of Three Different Levels of Skill Training in Musical Timbre Discrimination on Alphabet Sound Discrimination in Pre-Kindergarten and Kindergarten Children

The Effect of Three Different Levels of Skill Training in Musical Timbre Discrimination on Alphabet Sound Discrimination in Pre-Kindergarten and Kindergarten Children

Date: May 2000
Creator: Battle, Julia Blair
Description: The purpose of this study was to investigate the effects of three different levels of skill training in musical timbre discrimination on alphabet sound discrimination in pre-kindergarten and kindergarten children. The findings of prior investigations indicated similarities between aural music and language perception. Psychoacoustic and neurological findings have reported the discrimination of alphabet quality and musical timbre to be similar perceptual functions and have provided, through imaging technology, physical evidence of music learning simultaneously stimulating non-musical areas of the brain. This investigator hypothesized that timbre discrimination, the process of differentiating the characteristic quality of one complex sound from another of identical pitch and loudness, may have been a common factor between music and alphabet sound discrimination. Existing studies had not explored this relationship or the effects of directly teaching for transfer on learning generalization between skills used for the discrimination of musical timbre and alphabet sounds. Variables identified as similar from the literature were the discrimination of same- different musical and alphabet sounds, visual recognition of musical and alphabet pictures as sound sources, and association of alphabet and musical sounds with matching symbols. A randomized pre-post test design with intermittent measures was used to implement the study. There were 5 ...
Contributing Partner: UNT Libraries
Images of Remembered Earth

Images of Remembered Earth

Date: May 2000
Creator: Floyd, James Michael
Description: Images of Remembered Earth is a musical composition scored for full orchestra. The composition was inspired by Georgia O'Keeffe's painting, Light Coming on the Plains I (1917), which depicts a sunrise over a flat and empty landscape. In the painting, the expanse of the sun's rays is expressed through an even-blended transformation of color from goldish-blue at the light's source to progressively darker shades of blue near the edges of the canvas. The progression of color is interrupted by thin gold bands which sectionalize the sunrise into seven concentric arches. The construction of the musical composition derives musical materials directly from elements found within O'Keeffe's painting, specifically the shaping of structure, expansion, and color in arch patterns. Arch patterns, an integral element in O'Keeffe's painting, govern elements in the musical composition, including pitch selection, the overall tempo scheme, rhythmic activity, and formal shape. Pitch materials are expansive by design; this expansive quality is exhibited through the employment of wedge-shaped musical ideas and through the utilization of higher and lower registers. O'Keeffe's use of color in the painting influenced the orchestration of the music and is manifested in two ways: 1) gradual transformation of timbral colors and 2) the juxtaposition of ...
Contributing Partner: UNT Libraries
Ran, Shulamit: Concerto da Camera II, Analysis of Pitch and Formal Structure

Ran, Shulamit: Concerto da Camera II, Analysis of Pitch and Formal Structure

Date: May 2000
Creator: Lin, Sheng
Description: The thesis speculates upon the three movements of Concerto da Camera II (1987), scored for Bb clarinet, string quartet and piano) in these four aspects: 1) the formal structure, 2) the manipulation of the notes of whole-tone, octatonic, and chromatic scales in octave displacement, 3) the potential combination of subsets that present different levels of pitch transformation in melodic and harmonic structure, and 4) the usage of intervals of minor seconds, tritones, and perfect fourths or fifths which dominates the linear writing. All of these features demonstrate that the music has strong structural elements in form, motives, and sonorities, which unify the piece in an aurally coherent style as an organic whole. This study should provide more insight into the understanding of Ran's unique compositional technique and style.
Contributing Partner: UNT Libraries
The Texas Bandmasters Association: A Historical Study of Activities, Contributions, and Leadership (1920-1997)

The Texas Bandmasters Association: A Historical Study of Activities, Contributions, and Leadership (1920-1997)

Date: May 2000
Creator: Shoop, Stephen Scott
Description: The purpose of the study was to investigate the leadership role of the Texas Bandmasters Association (1920-1997) in the development of the band program in Texas. It sought to determine TBA's effect on the band movement in Texas, and ascertain how the TBA has contributed to the emphasis on performance focus that is associated with the Texas band tradition. In doing so, the study also provided information regarding the association's goals, purposes, activities, and contributions during the time period under investigation. The historical data for the study was compiled from documentary sources and personal interview. Documentary sources included minutes of meetings from 1920-1997, information contained in various periodicals including the Southwestern Musician combined with the Texas Music Educator, and a nearly complete set of clinic-convention programs. Historical data from past researchers, including several masters theses and doctoral dissertations, and tapes and transcripts of interviews conducted by past researchers, as well as interviews conducted by this researcher, were also utilized. Much of the historical data for the study was located at the Texas Music Educators Association archives, housed at the association headquarters in Austin, Texas. The researcher identified five periods of the association's history. In addition to developing a historical chronology, ...
Contributing Partner: UNT Libraries
Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others

Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others

Access: Use of this item is restricted to the UNT Community.
Date: May 2000
Creator: Bogle, James Michael
Description: Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.
Contributing Partner: UNT Libraries
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.
Contributing Partner: UNT Libraries
Young-Jo Lee's Variations on the theme of Baugogae: In search of his own language, a lecture recital, together with three recitals of selected works of J. Haydn, S. Rachmaninoff, R. Schumann, O. Messiaen, and F. Liszt

Young-Jo Lee's Variations on the theme of Baugogae: In search of his own language, a lecture recital, together with three recitals of selected works of J. Haydn, S. Rachmaninoff, R. Schumann, O. Messiaen, and F. Liszt

Access: Use of this item is restricted to the UNT Community.
Date: May 2000
Creator: Kwon, Suk-Rahn
Description: The objective of the dissertation is to examine Young-Jo Lee's (b. 1943) musical language as exhibited in his piano composition, Variations on the theme of Baugogae. Subjects of discussion include Lee's use of direct and indirect musical borrowings from past European composers and traditional Korean folk idioms. Also included are a biographical sketch of the composer and historical overview of modern Korean composers. This dissertation investigates Lee's effort to synthesize traditional Korean music and Western music in one art form and ultimately, to create his own musical language.
Contributing Partner: UNT Libraries
New Resources in Twentieth-Century Piano Music and Richard Wilson's Eclogue (1974)

New Resources in Twentieth-Century Piano Music and Richard Wilson's Eclogue (1974)

Date: August 2000
Creator: Lan, Ping-Ting
Description: This dissertation draws some of the innovative composers from the early 1900's to the 1960's into the spotlight to highlight their new musical and pianistic ideas. These composers, including Debussy, Schoenberg, Webern, Bartók, Cowell and others, brought new creative forces into piano music, generating many distinctive features of modern music. The discussion of new resources in harmonic language, timbre, texture, form and concept of time has a direct bearing on aspects of Richard Wilson's Eclogue itself as well as aspects of performance problems. American Composer, Richard Wilson, has written three substantial piano solo works, Eclogue, Fixations, and Intercalations. Eclogue, from 1974, is a one-movement work. The detailed analysis of Eclogue covers aspects of form, harmonic language, timbre and texture, and rhythm and time. In addition, essential issues of performance problems such as notation, rhythmic control, extended techniques, hands distribution, and pedaling are also discussed.
Contributing Partner: UNT Libraries
FIRST PREV 1 2 3 4 5 NEXT LAST