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  Partner: UNT Libraries
 Decade: 1990-1999
 Degree Discipline: Composition
Sinfonietta

Sinfonietta

Date: December 1994
Creator: Au, Siu-ming Stefan
Description: Sinfonietta is a work of about 18 minutes for orchestra with an instrumentation of 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 timpani, percussion, harps, piano and strings. Three players are required for the percussion battery. The work is in four movements: Prelude, Theme and Variations, Largo and Finale. Movement I is in a tri-partite design. In the second movement, the theme is first enunciated by a solo violoncello in its high register followed by seven variations in the orchestra. In Movement III, there are three brief sections plus a longer coda which links to the Finale, the last movement of the Sinfonietta. This movement ends the work with a double fugal section where many of the important features used in the work recur. The movements are made coherent by means of cyclic treatment of the material.
Contributing Partner: UNT Libraries
Loose Id for Orchestra

Loose Id for Orchestra

Date: August 1996
Creator: Bryant, Steven 1972-
Description: Loose Id, scored for orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets in B-flat, B-flat contrabass clarinet, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B-flat, 2 trombones, 1 bass trombone, tuba, timpani, percussion (3 parts), violin I, violin II, viola, violoncello, and contrabass), is an abstract realization in sound of the energy of the Id. Unleashed, without the counterbalance of Ego or Superego, the Id generates unbridled instinctual energy, resulting in an orgiastic frenzy. Distinct from a state of dementia, this piece represents a thoroughly lucid and intentional rampage of self-indulgence. The accompanying essay examines the underlying structural principles of Loose Id, focusing on how they aid the creation of the overall experience of the piece. Particular attention is given to the concepts of linearity and nonlinearity and their roles in different levels of creative and listening processes.
Contributing Partner: UNT Libraries
Riders to the Sea

Riders to the Sea

Date: December 1993
Creator: Carson, Michael, 1959-
Description: Riders to the Sea is a chamber opera in one act of approximately 40 minutes in duration. The single act is divided into six scenes that progress without pause. The vocal parts are comprised of 2 sopranos, 1 mezzo-soprano, 1 baritone, and an off-stage chorus of men's voices (tenor I, tenor II, baritone, and bass; two per part). The orchestra will be comprised of winds (1-1-1-1-1), brass (2-2-1-1), strings (2-2-2-2-1), piano, 2 percussionists, and tape, that will be used to provide a continuous background of surf and wind sounds. Authentic Irish folk songs are threaded throughout the work, generally functioning as a background element, while twentieth-century compositional techniques are utilized primarily for special effects.
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A Wedding Ceremony: Processional, Kyrie, Alleluia!, Hosanna!, Recessional

A Wedding Ceremony: Processional, Kyrie, Alleluia!, Hosanna!, Recessional

Date: May 1998
Creator: Cieminski, Theresa
Description: A Wedding Ceremony is a composition of approximately 17 minutes in duration and is scored for horn in F, two trumpets in B-flat, trombone, two percussionists (timpani, roto toms, chimes, snare, triangle, suspended cymbal), 2-part boys choir, female soprano, and organ. The work consists of five parts of a mass, the Processional, Kyrie, Alleluia!, Hosanna!, and Recessional, with texted sections being taken from the Latin mass. The work is intended for a sacred wedding service of any denomination. The work was composed with the traditional aspects of the Latin mass in combination with a contemporary setting.
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In Nomine Domini

In Nomine Domini

Date: August 1995
Creator: Crowley, Timothy R. (Timothy Robert)
Description: In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini ...
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S'I' Fosse Foco, Arderei'l Mondo

S'I' Fosse Foco, Arderei'l Mondo

Date: May 1993
Creator: De Lisa, Eugene, 1957-
Description: The dissertation is recorded computer music. It has a duration of fourteen minutes and fifty seven seconds. The source sound material is a reading of a sonnet of the same name by thirteenth century Sienese poet Cecco Angiolieri. It utilizes Linear Predictive Coding and Short-time-fourier synthesis in addition to postprocessing by spatialization and digital filtering. The discussion of the piece includes an explanation of the synthesis techniques, the pitch manipulation algorithms and the programs written by the composer to generate computer scores based on these algorithms, and finally how the individual musical events were generated and mixed together. The computer scores and programs used to generated these scores are provided after the discussion.
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Temporal Distortions: a Composition for Orchestra

Temporal Distortions: a Composition for Orchestra

Date: August 1995
Creator: Frank, Robert J., 1961-
Description: Temporal Distortions is 18-20 minutes in length and is written for an orchestra including 2 flutes (2nd flute doubling on piccolo), 2 oboes, 2 Bb clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, 3 percussionists playing tri-toms, vibraphone, snare/tenor drum, medium suspended cymbal, Glockenspiel, bass drum, and large tam-tam; and multiple string parts for violin I a & b, violin II a & b, viola a & b, cello and double bass. Temporal Distortions was inspired by the theoretical concept of "wormholes" in space, where matter is warped through distorted passages connecting distant and diverse parts of the universe. The work is in three sections, connected without break. The first section, Space, emerges as a wide, expansive musical area where themes and gestures are freely presented. Gradually, these materials come into phase with one another, building to a climax. A transition follows, leading into the middle section, Wormholes, where the materials are frequently and suddenly transformed into other temporal elements. The third section, Comets, was inspired by the collision of the comet Shoemaker-Levy 9 with the planet Jupiter in July of 1993. Driving, underlying rhythms propel the thematic material through a series of statements which split into more ...
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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
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
Contours

Contours

Date: August 1994
Creator: Hughes, Russell M., 1954-
Description: Contours is scored for full wind ensemble and percussion, and is approximately nine minutes in length. The title refers to the way melodic shape or contour is used to create unity and variety in the piece. Contours is a single-movement work containing three sections that are unified by thematic and harmonic materials. The melodic material is generated by three twelve-tone rows, which are then used in combination with freely composed material. The first and last sections are highly contrapuntal and rhythmically disjunct. Both sections share common rhythmic and melodic patterns. These sections are contrasted with a slower and more lyric middle section. This section is made of a series of episodes that create an overall A-B-A structure.
Contributing Partner: UNT Libraries
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