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 Department: College of Music
Temporality and Rhythmic Structure in Thirteen Drums by Maki Ishii and Rebond a by Iannis Xenakis

Temporality and Rhythmic Structure in Thirteen Drums by Maki Ishii and Rebond a by Iannis Xenakis

Date: August 2014
Creator: Liu, Yi-Jan
Description: This dissertation will focus on the concepts of musical time of two solo multiple-percussion compositions, Thirteen Drums (1985) by Maki Ishii and Rebond A (1987-1989) by Iannis Xenakis. The aesthetic experience of musical works is tied to the perception of musical time. Performers have to understand the concepts and methods of construction of musical time in order to interpreting composer’s works. The model of cognitive process in neuroscience of music and the information processing theory from cognitive psychology is provided to explain the perception of musical time and its importance to the aesthetic experience of music. The rhythmic structure, which is essential in temporal structure to the perception of musical time, is examined in depth to show its significant influence on the aesthetic experience in both works. Rhythmic tension will also affect the aesthetic experience.
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Pedagogical Applications of Scat-singing Within the Jazz Trombone Studio

Pedagogical Applications of Scat-singing Within the Jazz Trombone Studio

Date: August 2014
Creator: Schneller, Aric Lewis
Description: This study investigates the pedagogical applications of scat-singing within the jazz trombone studio. In addition to the obvious ear-training benefits that the student player can gain from this synthesis, the palette of articulation subtleties and overall musically expressive qualities for trombonists can also be greatly enhanced. These commonalities will encompass the pedagogical focus of this document, utilizing performance recordings and publications by prominent jazz artists and writers to document existing teaching strategies as well as develop new concepts. The first section of this document presents an introduction that includes a historical overview of scat-singing, prominent scat-singing instrumentalists, and concepts and current literature. The second section presents selected biographies on Wycliffe Gordon and Bill Watrous, both prominent jazz trombonists who sing as well as play the trombone. The third section investigates jazz articulation, scat-singing articulation, and doodle-tongue articulation and their relevance to this topic. The fourth section explores musically expressive qualities as analyzed in Bill Watrous’ solo transcription of “Body and Soul.” The final section draws conclusions about the pedagogical applications of scat-singing within the jazz trombone studio and summarizes current teaching strategies. Although this document is not a performance guide, an informed performance of the concepts and examples contained herein ...
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Critical Discussion of Pleroma: A Digital Drama and Its Relevance to Tragic Form in Music

Critical Discussion of Pleroma: A Digital Drama and Its Relevance to Tragic Form in Music

Date: December 2010
Creator: Lucas, Stephen
Description: Pleroma is a digital drama: a work composed of digital animation combined with electroacoustic music, presenting an original dramatic narrative. Pleroma's dramatic elements evoke both the classical form of tragedy and the concept of perceptual paradox. A structural overview of the drama and its characters and a plot synopsis are given to provide context for the critical discussion. Analytical descriptions of Beethoven's Coriolan Overture Op.62 and Mahler's Symphony No. 9 are provided to give background on tragic form and Platonic allegory in music. An investigation into the elements discussed in the analysis of the instrumental works reveals several layers of possible interpretation in Pleroma. Dramatic elements allow for tragic narratives to be constructed, but they are complemented by character associations formed by pitch relationships, stylistic juxtapositions, and instrumentation. A copy of the dramatic text is included to supplement the multimedia production: http://digital.library.unt.edu/ark:/67531/metadc33228/
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Defining the Contralto Voice Through the Repertoire of Ralph Vaughan Williams

Defining the Contralto Voice Through the Repertoire of Ralph Vaughan Williams

Date: May 2014
Creator: Daniels, Sarah M.
Description: At the beginning of the twentieth century, the recognition of the contralto voice type had reached its apex in England. Throughout the remainder of the century, the number and popularity of recorded contraltos has decreased alongside the rise of the mezzo-soprano voice type. Due to the contralto’s decline and the lack of repertoire composed specifically for the voice, the definition of “contralto” remains somewhat ambiguous. The large contralto repertoire of English composer Ralph Vaughan Williams displays a unique sensitivity to the contralto, particularly with regards to vocal range, flexibility, tessitura, and sustainability. These works thus suggest a new perspective for the voice type. The scope of Vaughan Williams’s oeuvre examined includes each of his operatic roles for contralto and choral works featuring the contralto. Also examined will be the compositional techniques implemented within these pieces which demonstrate the strengths and weaknesses of the contralto voice. A workable definition of the voice type for the pedagogue and performer is included.
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Études: Five Compositional and Technical Studies for Solo Organ

Études: Five Compositional and Technical Studies for Solo Organ

Date: May 2014
Creator: Lloyd, S. Andrew
Description: Études was composed as a set of five interrelated movements in the followingorder: Prelude, Introduction and Fugue, Triptych, Chorale, and Response. The pieces are compositional as well as technical studies. The movements specifically explore certain styles and forms unique to organ music, and reintroduce these elements in creative ways. As in the traditional étude, each movement contains virtuosic technical studies, which are designed to enhance manual and pedal facility and prepare the performer for advanced repertoire.
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A Pedagogical and Methodical Approach to Unaccompanied Euphonium Literature Through Performance and Analyses of Original Works by Torstein Aagaard-nilsen

A Pedagogical and Methodical Approach to Unaccompanied Euphonium Literature Through Performance and Analyses of Original Works by Torstein Aagaard-nilsen

Date: August 2013
Creator: Nyren, Patrick J.
Description: Original unaccompanied literature currently stands as one of the most understudied bodies of music in the euphonium repertory. This is largely due to a lack of access to reference recordings, live performances, and study/performance guides. Many of the commissioning projects for new euphonium music in the late 20th and early 21st centuries have promoted the composition of large scale works for euphonium and large ensembles, but very few have generated new unaccompanied pieces for euphonium. Many of the most recent commissions for unaccompanied euphonium music have been for competitions such as the Lieksa Brass Festival (Finland) and Leonard Falcone International Festival (USA). These competitions are also where many students get their only exposure to the unaccompanied repertoire. Unfortunately, there is a small number of standard unaccompanied works that are continuously recycled for these competitions and the exposure to new pieces in the repertoire is further diminished for many developing euphoniumists. This study will examine the three works for unaccompanied euphonium by Torstein Aagaard-Nilsen and provide solutions for many common technical challenges and pose suggestions for approaching and preparing this genre of music. Connections are made throughout the study to specific etudes and other unaccompanied solos that can be used as ...
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Harold Shapero’s Sonata for C Trumpet and Piano: the Influence of Idiomatic Jazz Elements on a Prominent Mid-20th Century Neo-classical Composer

Harold Shapero’s Sonata for C Trumpet and Piano: the Influence of Idiomatic Jazz Elements on a Prominent Mid-20th Century Neo-classical Composer

Date: August 2013
Creator: Whalen, Kevin Patrick
Description: Harold Shapero’s Sonata for Trumpet in C and Piano is a significant work that it is rarely performed and studied. Shapero’s composition contains musical attributes that demand artistically accurate choices if the style of this jazz-influenced sonata is to be achieved. Written in 1940 in dedication to Aaron Copland, the Sonata for C Trumpet and Piano makes use of a variety of stylistic influences, blending those of early 20th century jazz with Stravinsky-influenced neo-classicism. The intent of this study is to examine the unique performance practice implications and musical considerations of Harold Shapero’s Sonata for C Trumpet and Piano in correlation to the composer’s implementation of jazz idiomatic elements within the constructs of neo-classicism. The first section of this study examines the historical context necessary for understanding the social and musical conditions of the early to mid 1940s. The second section addresses the musical elements that characterize this work; the primary focus of this section is an exploration of Harold Shapero’s implementation of jazz idioms into his first composition for trumpet. The final section of the study interprets the utilization of idiomatic jazz elements within the work so as to allow the trumpet player with little jazz experience to accurately ...
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Utilizing North American Art Song Settings of Psalm Texts in Worship Services: an Annotated Guide for Singers, Voice Instructors, and Music Ministers

Utilizing North American Art Song Settings of Psalm Texts in Worship Services: an Annotated Guide for Singers, Voice Instructors, and Music Ministers

Date: May 2014
Creator: Siddons, Kyle
Description: This dissertation provides a guide for appropriate use of North American art song settings of biblical psalms for solo voice written after 1950 in the worship services of Christian faiths. The songs analyzed are for all voice parts and a variety of accompanying ensembles. The placement of each song on a specific calendar day is guided by the individual church calendars and lectionaries, on the prevalent themes of the text, and the characteristics of the musical setting. Performance of these songs only in a concert setting limits their usefulness for singers, voice teachers, and music directors alike. A new and worthy performing context can be established by analyzing the text and musical settings.
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Britten’s Op 47, Five Flower Songs: Breaking Trends in Analysis

Britten’s Op 47, Five Flower Songs: Breaking Trends in Analysis

Date: August 2013
Creator: Jackson, Christopher Michael
Description: Benjamin Britten’s life and music have been the subject of study from early in his musical career. Current trends in psychological analysis of Britten’s music tend to focus on common themes, such as homosexuality, pacifism, the sense of the outsider, and the loss of innocence. Similarly, theoretical analyses tend either to provide general categorizations of the technical elements in Britten’s music or to apply a singular preconceived concept as a tool for understanding his compositions. These approaches have yielded significant information but leave aspects of Britten’s personality and music unilluminated. Britten’s Op. 47, Five Flower Songs, are a collection of five part songs for a cappella chorus that are often included within the canon of 20th century choral literature. This paper examines a new perspective on Britten’s music by examining the relationship between Britten’s friendships and their influence on his compositions. Through the examination of these relationships information is revealed that allows for a new method of analysis that is particularly relevant to the Five Flower Songs. The opus was dedicated to two botanists for the occasion of their 25th wedding anniversary. Contained within specific movements are extra-musical references to scientific characteristics of the flowers that are the subjects of ...
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The Effect of Head Flexion/extension on Acoustic Measures of Singing Voice Quality

The Effect of Head Flexion/extension on Acoustic Measures of Singing Voice Quality

Date: August 2013
Creator: Knight, Elizabeth Johnson
Description: A study was undertaken to identify the effect of head flexion/extension on singing voice quality. The amplitude of the fundamental frequency (F0), and the singing power ratio (SPR), an indirect measure of singer’s formant activity, were measured. F0 and SPR scores at four experimental head positions were compared with the subjects’ scores at their habitual positions. Three vowels and three pitch levels were tested. F0 amplitudes and low frequency partials in general were greater with more extended head positions, while SPR increased with neck flexion. No effect of pitch or vowel was found. Gains in SPR appear to be the result of damping low frequency partials rather than amplifying those in the singer’s formant region. Raising the amplitude of F0 is an important resonance tool for female voices in the high range, and may be of benefit to other voice types in resonance, loudness, and laryngeal function.
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