You limited your search to:

  Partner: UNT Libraries
 Degree Discipline: Performance
Reading Isang Yun’s Concerto No 3 Beyond Western Notational Norms

Reading Isang Yun’s Concerto No 3 Beyond Western Notational Norms

Date: December 2014
Creator: Ro, Sophia M
Description: Korean-German composer Isang Yun received international recognition as one of the successful and leading twentieth-century composers. Despite Yun’s lasting fame, some of his works remain lesser known such as all three of his violin concerti. Yun’s main compositional techniques in his violin concerti are abundant ornamentations and articulations that imitate the sound of Korean folk instruments but played on the violin. Without acknowledging Korean folk music performance practices and folk instruments, a violinist cannot accurately deliver what Yun’s music expressed. The fact that Yun’s Violin Concerto No. 3 imitates Korean string instruments, haegeum or komungo, it must be explained how Korean ornamentations are played and can be incorporated on the violin. The purpose of this paper is to provide these answers as well as technical suggestions regarding abundant ornamentations, frequent dynamic and articulation changes, as well as fingerings and bowings. It is hoped that this study will help violin performers to understand Yun’s Concerto No. 3 and encourage more frequent performances of it.
Contributing Partner: UNT Libraries
A Performance Guide to the Dramatic, Vocal, and Musical Challenges of Judith Weir’s Opera, King Harald’s Saga

A Performance Guide to the Dramatic, Vocal, and Musical Challenges of Judith Weir’s Opera, King Harald’s Saga

Date: August 2014
Creator: Park, Sang Hee
Description: Judith Weir (b. 1954) composed King Harald’s Saga: Grand Opera in Three Acts for Unaccompanied Solo Soprano Singing Eight Rôles (1979) for radio broadcast. She wrote the libretto for the opera based on Snorri Sturluson’s book, King Harald’s Saga. This opera illustrates Weir’s remarkable compositional style, including her treatment of the libretto in narrative style and her representation of multiple characters by one singer. Despite Weir’s fame as an opera composer, King Harald’s Saga is rarely performed owing to three major musical and performing challenges. These challenges are performer’s ability to delineate eight separate characters (dramatic challenges), to sing wide leaps and long melismas (vocal challenges), and to perform a cappella with wide leaps and complex rhythms (musical challenges). This dissertation presents a performance guide for the soprano addressing these three challenges and suggesting possible solutions. Such a guide will assist the soprano in preparing and performing this grand opera, which thus far has not received the due attention and appreciation of either performers or audiences.
Contributing Partner: UNT Libraries
The 1896 Vienna Tonkünstler-verein Competition: the Three Award-winning Works and Seven Anonymous Submissions with Clarinet

The 1896 Vienna Tonkünstler-verein Competition: the Three Award-winning Works and Seven Anonymous Submissions with Clarinet

Date: August 2014
Creator: Harrell, Andrea
Description: The Vienna Tonkünstler-Verein (1885-1929) was established for the sole purpose of providing extensive support to the music and musicians of Vienna. The society became renowned in Vienna for its outstanding performances of chamber music and counted among its members many of the city’s foremost musicians and composers. Johannes Brahms had a significant influence on the society as its honorary president and assisted in establishing its composition competitions, aimed at promoting and reviving under-developed chamber genres. Of particular interest to clarinetists is the Verein’s competition of 1896, which aspired to promote chamber music literature for wind instruments. Brahms’s recently completed chamber works for clarinet were clearly influential in fin-de-siècle Vienna; for of the twelve works chosen as finalists in the competition, ten included the clarinet in the chamber combination.The purpose of this document is to provide an English-language history of the Vienna Tonkünstler-Verein and a thorough account of its1896 competition based on my study of the society’s annual reports. In addition, this document will provide the first published account of the anonymous submissions for the 1896 competition. It is my hope that this paper will serve as a springboard for future endeavors aimed at uncovering the identities of the anonymous finalists ...
Contributing Partner: UNT Libraries
Shostakovich's Use of Satire in Anti-formalist Rayok with a Focus on the Music of the Character Dt Troikin

Shostakovich's Use of Satire in Anti-formalist Rayok with a Focus on the Music of the Character Dt Troikin

Date: August 2014
Creator: Grabowski, Gregory
Description: In January 1989, a much-rumored work by Dmitri Shostakovich titled Anti-Formalist Rayok received its public premiere. Rayok is a single-act satirical opera/cantata for bass soloist and mixed chorus. Each character represents a prominent Soviet political figure: Joseph Stalin, Andrei Zhdanov, and Dmitri Shepilov. The text of the libretto is either taken directly from actual speeches given by these political figures or follows their idiosyncratic style of public speaking. Rayok often falls victim to criticism for its lack of musical depth, a point of view that could easily lead one to see it as one of Shostakovich's lesser works. The purpose of this document is to examine the political environment of the Soviet Union in the early twentieth century in order to provide context for Shostakovich's Anti-Formalist Rayok and to show how Shostakovich uses satire in this piece. This dissertation document looks at the broader concepts of Formalism and Socialist Realism, traces how Socialist Realism became the established Soviet cultural aesthetic, and examines specific historical events in the 1940s and 1950s that relate to Rayok. Musical examples are taken from the section of the piece centering around D.T. Troikin. These examples demonstrate how Shostakovich uses Socialist Realist clichés in order to ...
Contributing Partner: UNT Libraries
The Influence of Indigenous Bushmen Musical Elements and Significant Compositional Traits on Niel Van Der Watt’s Song Cycle, Die Wind Dreun Soos ‘N Ghoera, ‘N Siklus Boesman-mites

The Influence of Indigenous Bushmen Musical Elements and Significant Compositional Traits on Niel Van Der Watt’s Song Cycle, Die Wind Dreun Soos ‘N Ghoera, ‘N Siklus Boesman-mites

Date: August 2014
Creator: Bester, Christiaan
Description: In Ghoera, Afrika-verse vir kinders, poet Hennie Aucamp demonstrates an affiliation with and reflection of his surroundings, such as the tribal communities he experienced as a child. This group of African children’s poems, published by Protea Boekhuis in 2011, became the source of inspiration for composer Niel van der Watt’s song cycle Die wind dreun soos ‘n ghoera, ‘n Siklus Boesman-mites. This study investigates and identifies significant compositional traits that contributed to van der Watt’s song cycle. To explore and understand the nature of such influences, the second chapter considers the composer’s early childhood; religious world views; student life; social, environmental, and political ideas; personal tonal language; and western musical elements. To ascertain possible indigenous Bushmen musical elements in van der Watt’s song cycle, the third chapter traces the history of the Bushmen and their marginalization, followed by a brief survey of historical writings on Bushmen music, and an identification process utilizing musicologist Percival R. Kirby’s research on Bushmen music as a foundation. The fourth chapter explores the origins of the cycle and other significant compositional influences. This study suggests that Hennie Aucamp’s poetry and Niel van der Watt’s song cycle represent a reconciling vehicle for cross-cultural understanding generating awareness ...
Contributing Partner: UNT Libraries
The Influence of Norwegian Folk Elements on Thomas Dyke Tellefsen’s Mazurkas Op 3 (1849) and Op 14 (1853)

The Influence of Norwegian Folk Elements on Thomas Dyke Tellefsen’s Mazurkas Op 3 (1849) and Op 14 (1853)

Date: December 2014
Creator: Lim, Mikyung
Description: Although Thomas Dyke Tellefsen’s mazurkas have been considered mere imitations of Chopin’s musical idiom, his mazurkas are closely related to Norwegian folk elements. Tellefsen adopted Norwegian folkloric elements from his own country and infused Norwegian spirit into his works to create his own musical language. To trace the Norwegian folk influence, this study examines folk dance (the springar), folk instruments (the hardanger fiddle and the langeleik), and folk melodic and rhythmic motifs. As the result, this research demonstrates that Tellefsen’s mazurkas were influenced by a phrase structure of Norwegian springar dance music and the exact sound effect of folk instruments (the hardanger fiddle and the langeleik) as well as Norwegian folk rhythmic and melodic formulas which are frequently used in Norwegian folk tunes. Furthermore, the comparison between Tellefsen and Chopin’s mazurkas demonstrates that although their mazurkas seem to have a similar musical style, Tellefsen’s mazurkas include his own traditional Norwegian folk aesthetic, which present original contributions to the genre.
Contributing Partner: UNT Libraries
Selected Operas of Isabelle Aboulker As Repertoire for the University Opera Studio

Selected Operas of Isabelle Aboulker As Repertoire for the University Opera Studio

Date: December 2014
Creator: O'Keefe, Patricia Beatrice
Description: Aboulker’s operatic works present an opportunity for opera workshop programs in the United States to perform contemporary operatic works in a foreign language, revitalizing the operatic repertoire and giving students the opportunity to prepare and perform roles without the weight and influence of significant performance history. Aboulker’s style, which has been called “effectively simple,” allows developing students to work on new French language repertoire without the burden of excessively difficult or atonal vocal lines. Aboulker’s works are tuneful and humorous and her longest operatic work lasts a mere hour and a half. These qualities also serve to mitigate the challenge presented to the student by the French language. Many of Aboulker’s works are conceived specifically to be performed with piano only, or have already been published in piano reduction. Most of her operatic works are very short or divide easily into scenes that could be performed separately where the performance of a longer work is either not feasible or not desired. All of these characteristics combine to make the operas of Isabelle Aboulker a viable repertoire option for the university opera studio.
Contributing Partner: UNT Libraries
A Comparison of Rhythm, Articulation, and Harmony in Jean-michel Defaye’s À La Manière De Stravinsky Pour Trombone Et Piano to Common Compositional Strategies of Igor Stravinsky

A Comparison of Rhythm, Articulation, and Harmony in Jean-michel Defaye’s À La Manière De Stravinsky Pour Trombone Et Piano to Common Compositional Strategies of Igor Stravinsky

Date: August 2014
Creator: Mullins, Dustin Kyle
Description: À la Manière de Stravinsky is one piece in a series of works composed by Jean-Michel Defaye that written emulating the compositional styles of significant composers of the past. This dissertation compares Defaye’s work to common compositional practices of Igor Stravinsky (1882 – 1971). There is currently limited study of Defaye’s set of À la Manière pieces and their imitative characteristics. The first section of this dissertation presents the significance of the project, current literature, and methods of examination. The next section provides critical information on Jean-Michel Defaye and Igor Stravinsky. The following three chapters contain a compositional comparison of À la Manière de Stravinsky to Stravinsky’s use of rhythm, articulation, and harmony. The final section draws a conclusion of the piece’s significance in the solo trombone repertoire. This study will add to the published material on Jean-Michel Defaye and this influential series of pieces and is intended to further the interest of research into the works of this important composer.
Contributing Partner: UNT Libraries
Carlos Guastavino’s Sonata Para Trombón O Trompa Y Piano: Analysis of Argentine Song and Formal Western Music Tradition Applied to Trombone Repertoire

Carlos Guastavino’s Sonata Para Trombón O Trompa Y Piano: Analysis of Argentine Song and Formal Western Music Tradition Applied to Trombone Repertoire

Date: August 2014
Creator: Rego Borges, Lucas
Description: Very few Latin American pieces for trombone as a solo instrument have entered the canon of trombone repertoire worldwide, despite the large number of compositions in this medium. Therefore, when a major composer writes a full sonata for trombone efforts need to be made to bring these compositions to light. The Argentine composer Carlos Guastavino wrote a sonata for trombone and piano that is virtually unknown outside of Argentina, despite the composer’s importance. He is known for his artistic choice of cultivating a traditional romantic style of composition apart from the new tendencies and influences of the artistic novelties of the twentieth century. Guastavino’s artistic position is very clear in the sonata’s highly strict formal organization and Guastavino’s unique treatment of tonality and modality. He was also loyal to his own style as composer, which is ultimately an Argentine song style. He utilized the lyrical qualities of the trombone to convey the type of melodic approach that he used in his vocal works. This paper investigates the Argentine song and Western sonata conventions featured on Carlos Guastavino’s Sonata para Trombón o Trompa y Piano. The paper argues that these features represent his unique approach to musical composition in the twentieth ...
Contributing Partner: UNT Libraries
The First Movement of Piano Sonata in B-flat Minor by Julius Reubke: a Comparison of Three Editions From the Performer’s Point of View

The First Movement of Piano Sonata in B-flat Minor by Julius Reubke: a Comparison of Three Editions From the Performer’s Point of View

Date: August 2014
Creator: Pátkai, Imre
Description: The objective of this dissertation is to review the discrepancies between the first edition, Stradal’s edition and Marzocchi’s edition of Reubke’s piano sonata, providing assistance for performers by clarifying inconsistencies between the three editions. Information in reference to major aspects such as fingerings, pedaling, phrasing, tempo markings is presented. Examples of discrepancies found throughout the first movement are discussed in Chapter 3. Detailed assessment of these discrepancies, accompanied by the author’s comments are listed in the comprehensive comparison table in Appendix A. Additionally, directions are given in cases of presumptive errors, and discrepancies are addressed with possible variant solutions. In conclusion, the relative merit of the three editions is assessed in Chapter 4.
Contributing Partner: UNT Libraries