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A Performance Guide to Arvo Pärt's Concerto Piccolo Über B-A-C-H for Trumpet, Strings, Harpsichord, and Piano

A Performance Guide to Arvo Pärt's Concerto Piccolo Über B-A-C-H for Trumpet, Strings, Harpsichord, and Piano

Date: August 2013
Creator: Bishop, James Martin
Description: Arvo Pärt's Concerto Piccolo über B-A-C-H for trumpet, strings, harpsichord, and piano is a brief yet challenging work in the trumpet repertoire. A carefully articulated performance guide is necessary to aid trumpeters in overcoming the numerous musical challenges presented in this piece. Currently, there is no resource that helps in solving performance choices and difficulties in this work. This first section of this document provides historical and contextual information on Arvo Pärt, his compositional output during his experimental period, and subsequently, Concerto Piccolo. The second section includes a performance analysis of the work, while the third gives trumpet players pedagogical suggestions and practical exercises for proper preparation of Concerto Piccolo. This guide presents performers with relevant background, analytical, and pedagogical information required for an informed and high-level performance.
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A Performer's Guide to Béla Bartók's Violin Concerto No 1, Opus Posthumous, 1907–1908

A Performer's Guide to Béla Bartók's Violin Concerto No 1, Opus Posthumous, 1907–1908

Date: August 2013
Creator: Jobbágy, Szemoke
Description: Despite Bartók's lasting international fame, some of his works remain unjustly lesser-known. One of the pieces that still resides in relative obscurity is his Violin Concerto No.1—a gem of the violin repertoire that must be brought to the broader public's attention. The fact that the concerto was hidden definitely contributed to its little–known status at first. However, the most important cause for the lack of enthusiasm to tackle this terrific work lies in the unorthodox demands it puts on the violinist. The purpose of this paper is to provide musical and technical suggestions based on Bartók's performing style and on his requirements for performer, which will help to create a more persuasive interpretation of the piece. The guide covers the questions of character, articulation, dynamics, and other performance aspects, and also provides practical suggestions, such as fingerings and bowings. It is hoped that this study will help violin performers to gain additional knowledge and insight into this composition and encourage more frequent performances of it.
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José Antonio Gómez´s Versos Para Órgano (Section I): a Practical Guide for Performance

José Antonio Gómez´s Versos Para Órgano (Section I): a Practical Guide for Performance

Access: Use of this item is restricted to the UNT Community.
Date: August 2012
Creator: Carrasco Curíntzita, Laura A.
Description: José Antonio Gómez is an important figure in Mexican music history and his works are considered representative of the beginning of Mexico´s Independent era. Some musicians are familiar with Gómez´s choral output but his organ music is rarely considered. Due to the lack of an edition of Gómez´s Versets for Organ, a practical guide was found needed to aid its performance. This study is based on performance, analysis, and direct work on the only known source for it. The first chapter, Introduction, presents the argument for an edited version of the first part of the manuscript as a performance guide. The second provides biographical information on the composer. The third chapter discusses the background for the original performance of the Versets for Organ. Chapter 4 provides performance considerations for the works. The edition of the manuscript is included in chapter 5.
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Exploring Aspects of Korean Traditional Music in Young Jo Lee's Piano Honza Nori

Exploring Aspects of Korean Traditional Music in Young Jo Lee's Piano Honza Nori

Date: August 2013
Creator: Kim, Jin
Description: Since the 1960s, several gifted Korean composers, including perhaps most notably Young Jo Lee (b. 1943), have been internationally acclaimed for their work. In Western countries, however, there has been a scarcity of academic studies examining the artistry of the music of these Korean composers. Nonetheless, as one of today's most recognized composers in Korea, Young Jo Lee has been invited to numerous international concerts, conferences, and festivals where his works have been played and discussed. A salient feature of his compositions is the fusion of Korean traditional music and the elements of Western compositions, such as in, for one distinctive example, his piano composition, Piano Honza Nori. This musical study describes and analyzes how Lee integrates Korean traditional elements with Western musical ideas in Piano Honza Nori. Results of this study will contribute to the limited literature on the analysis of contemporary piano composition that integrates Korean traditional elements.
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Innovations in Musical Texture and Aural Perspective: Steven Mackey's See Ya Thursday for Solo Marimba

Innovations in Musical Texture and Aural Perspective: Steven Mackey's See Ya Thursday for Solo Marimba

Date: August 2013
Creator: Hall, David Porter
Description: This dissertation and accompanying lecture recital explore the unique textural features in the works of Steven Mackey as exhibited in See Ya Thursday (1993).A rigorous formal, harmonic, and motivic analysis will highlight the compositional characteristics of textural structure and aural perspective that exist in the work. Illumination of these compositional elements can help to identify and minimize the technical complexities that exist within this piece for the performer. In addition, this document provides brief biographical information on Steven Mackey and his works, and on See Ya Thursday as it relates to other pieces in the advanced marimba literature. Finally, it is the aim of the author to add a resource to the relatively limited amount of research on Steven Mackey with this analysis of See Ya Thursday.
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The Integration of Western Techniques with East Asian Philosophies in Isang Yun's Quartett Für Horn, Trompete, Posaune Und Klavier

The Integration of Western Techniques with East Asian Philosophies in Isang Yun's Quartett Für Horn, Trompete, Posaune Und Klavier

Date: August 2013
Creator: Kim, Daewook
Description: Korean composer Isang Yun (1917-1995) was one of the few successful Asian avant-garde composers to blend philosophical elements from East Asia with Western techniques such as the twelve-tone method, Hauptton, Hauptklang, and Umspielung. In addition to the integration of Western and Eastern influences, a significant feature of Yun´s compositional language, found throughout his oeuvre, is the application of East Asian philosophical tenets into his works. The purpose of this dissertation is to develop a greater understanding of Isang Yun's life and music, more specifically the Quartett für Horn, Trompete, Posaune und Klavier. The dissertation is divided into five chapters. The first chapter of the dissertation presents introductory data, including the purpose and significance of the study. The second chapter provides pertinent biographical facts about Isang Yun and his works, obtained through research of authoritative books, journal articles, and interviews. The third chapter offers references to traditional Korean brass instruments in terms of their historical background, structure, and timbre. In addition, it also focuses on the processes by which Yun incorporated the compositional techniques of Hauptton, Hauptklang, and Umspielung to the work and their relation to Tao philosophy. The fourth chapter consists of an analytical and stylistic study of the Quartett; ...
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A Survey of the Solo and Chamber Works for Trumpet, Horn, Trombone, Euphonium and Tuba By the Hungarian Composer Frigyes Hidas

A Survey of the Solo and Chamber Works for Trumpet, Horn, Trombone, Euphonium and Tuba By the Hungarian Composer Frigyes Hidas

Date: August 2013
Creator: Gill, Jonathan B.
Description: Hidas composed more than 135 compositions. Of these 135 compositions 67 feature the trumpet, horn, trombone, euphonium, and tuba in a solo setting, a homogenous chamber setting, or a heterogeneous chamber setting. The first section of this project presents the significance of the topic, state of research, and methodology. Chapter one provides a narrative detailing the collaboration of Hidas with Gusztáv Höna and László Szabó, Sr. Chapter two provides a brief description of characteristics found in Hidas' compositions. Appendix A and B provides a survey of the 67 works for brass instruments that Hidas composed. Included in this survey is information pertaining to the title, editor, publisher and date of publication, total measures, duration, ranges, degree of difficulty, clefs, special effects/techniques, instrumentation, dedications, analytical information, general comments, recordings, and rental details.
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The Influence of Bela Bartok on Symmetry and Instrumentation in George Crumb's Music for a Summer Evening with Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others

The Influence of Bela Bartok on Symmetry and Instrumentation in George Crumb's Music for a Summer Evening with Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others

Date: August 1993
Creator: Kingan, Michael Gregory
Description: The purpose of this document is to investigate the influence of Bela Bartok's music, specifically the Sonata for Two Pianos and Percussion, on George Crumb's Music for a Summer Evening. It concentrates on two specific areas: 1) the role of symmetry and 2) instrumentation. These two items were stressed during an interview with Crumb by the author, which is appended to the paper.
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Was Ist Silvia? Englanderin Oder Deutsche? Restoring the Orignial English Texts to Songs Schubert Set in Translation, a Lecture Recital, Together with Three Recitals of Selected Works of H. Purcell, G. F. Handel, W. A. Mozart, F. Schubert, J. Brahms, H. Wolf, F. Poulenc and Others

Was Ist Silvia? Englanderin Oder Deutsche? Restoring the Orignial English Texts to Songs Schubert Set in Translation, a Lecture Recital, Together with Three Recitals of Selected Works of H. Purcell, G. F. Handel, W. A. Mozart, F. Schubert, J. Brahms, H. Wolf, F. Poulenc and Others

Date: May 1995
Creator: Bolthouse, Colleen R.
Description: Because of the lack of information concerning the success or failure of Schubert's bilingual edition and concerning the relationship between the English texts and Schubert's settings, most performers take the conservative route of performing both the songs from Lady of the Lake and the rest of Schubert's English song repertoire only with the German translations. Because of the desirability of performing this repertoire in English for English-speaking audiences, this study examines all of the English songs of Schubert to determine whether the original poems can be successfully substituted for the German translations. Editions of the settings that can be effectively performed with the English texts are included in the appendix, in order to make available editions which reflect Schubert's ambition to make his songs easily accessible to non-German-speaking audiences.
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Joan Tower's Hexachords for Solo Flute: an Analysis and Comparison of its Flute Writing to Tower's Flute Concerto with Three Recitals of Selected Works of Vivaldi, Rivier, Mozart, Davidowsky, and Others

Joan Tower's Hexachords for Solo Flute: an Analysis and Comparison of its Flute Writing to Tower's Flute Concerto with Three Recitals of Selected Works of Vivaldi, Rivier, Mozart, Davidowsky, and Others

Date: May 1993
Creator: Jones, Margo S.
Description: This dissertation discusses two flute works by Joan Tower (born 1938). The performance medium consists of flute alone, Hexachords for Solo Flute (1972), and flute and orchestra, the Flute Concerto (1989). The discussion on Hexachords consists of a theoretical analysis; discussion on the Flute Concerto pertains to Tower's flute writing through an investigation into her musical language and specific performance techniques. Numerous examples are included to illustrate various aspects of Tower's style. Conclusions follow. The purpose of the paper is, first, to illustrate that basic knowledge of the twelve-tone method can bring a composition out of uncertainty for the performer and allow him to present what is unique within it. Secondly, it is to investigate the stylistic maturation of Joan Tower's flute works. In order to facilitate a better understanding of Tower's music and to provide commentary about the performance of each work, the writer has quoted from personal interviews with the composer and with flutists Carol Wincenc and Patricia Spencer, to whom the works are dedicated.
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