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  Partner: UNT Libraries
 Decade: 2000-2009
 Degree Discipline: Music Theory
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.
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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.
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Keyboard Innovation: Harry Partch's Contributions

Keyboard Innovation: Harry Partch's Contributions

Access: Use of this item is restricted to the UNT Community.
Date: August 2000
Creator: Koh,Wee Lay
Description: "Harry Partch's Keyboard Innovation" is a computer-assisted demonstration that introduces the tuning system used primarily by the twentieth-century American composer, Harry Partch. The multimedia product was developed in Director 6.0, and it includes sound and video clips from CDs and videocassettes of Partch's works produced by Phillip Blackburn and distributed by the American Composers Forum. The content of the demonstration involves a 43-tone microtonal tuning system and its application in the music literature. This demonstration will discuss the chronological order in which these prototypes were developed and also includes samples of the tuning of notes in Partch's scale that the novice can experiment with interactively. These tones were synthesized using the Csound scores shown in Appendix B. Materials for this demonstration are based on Harry Partch's Genesis of a Music.
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Accent and Grouping Structures in the String Quartets of Béla Bartók

Accent and Grouping Structures in the String Quartets of Béla Bartók

Date: May 2001
Creator: Bocanegra, Cheryl D.
Description: The music of Béla Bartók is defined in part by its unique blend of rhythmic vitality and inventiveness, and his string quartets offer a glimpse into a consistency of technique evident throughout his compositional career. Bartók's rhythmic environments are primarily metrical, but many of his rhythmic configurations are placed in such a way as to potentially override established meter. It is necessary, therefore, to institute an analytical means by which the delineation and comparison of rhythmic structures both within and without the metrical context may be accomplished. An analytical method using Timepoint Accent Structures (TAS) allows for the comparison of rhythms resulting from patterns of accent produced by pitch onset, dynamic stress, articulation or any other accentual factors. Timepoint Grouping Structures (TGS) delineate the number of timepoints present in alternating groups/blocks in a texture, thereby allowing for the recognition of patterning created by these larger groups. By applying TAS and TGS analysis, relationships of rhythmic equivalency, rotation, retrograde, complementation, augmentation, diminution, subset, superset, exchange, compression and expansion are clearly confirmed in the string quartets. In addition, symmetrical structures and arithmetic progressions are discovered. In many ways, Bartók's rhythmic organization mimics his procedures of pitch structuring.
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D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material

D. A. Kolb’s Theory of Experiential Learning: Implications for the Development of Music Theory Instructional Material

Date: August 2001
Creator: Lively, Michael
Description: This research project evaluates the effectiveness of specific music theory instructional strategies in terms of D. A. Kolb’s theory of experiential learning and Kolb’s typology of individual learning style. The project provides an original methodology for the adaptation of music theory instructional material to the individual learning style types described in Kolb’s typology. The study compares the relative effectiveness of two music theory instructional sequences, one of which is adapted for all of the learning style modalities described in Kolb’s typology, and the other adapted for only a limited number of Kolb’s learning style types. In order to compare the potential “learning outcomes” produced by these instructional sequences, a detailed study is proposed, in which computer based instruction (CBI) will deliver the instructional sequences to research participants and electronically record the participants’ responses. The current study demonstrates the effective aspects of the original methodology and suggests methods for the successful adaptation of music theory instructional material to individual student learning styles.
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Die Neue Lehre: Developing an Online Course in Schenkerian Analysis

Die Neue Lehre: Developing an Online Course in Schenkerian Analysis

Access: Use of this item is restricted to the UNT Community.
Date: August 2001
Creator: Sadoff, Jennifer
Description: With the proliferation of Schenkerian theory in the US, Great Britain, and mainland Europe in the past quarter century, the pedagogy of Schenkerian analysis has become an important issue. Schenker himself was suspicious of textbooks with their tendency for artificial codification and over-simplification; rather, he recognized that his “New Teaching” (“Die neue Lehre”) – as he called it – required a different, more “organic” pedagogical approach that was both personal and yet accessible to a wide audience. New digital technologies and the Internet now have made it possible to disseminate Schenker’s pedagogical approach by adapting interactive techniques of Web-based instruction. Schenker’s “new teaching” was as organic as his theory itself – and as novel in the connections it sought to draw between the individualed disciplines of theory, musicology, composition, and performance. The interactive and multi-media components of Web-based instruction enable us to realize Schenker’s own pedagogical approach to Schenkerian analysis instruction.
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An Analysis of Periodic Rhythmic Structures in the Music of Steve Reich and György Ligeti

An Analysis of Periodic Rhythmic Structures in the Music of Steve Reich and György Ligeti

Date: August 2002
Creator: Isgitt, David
Description: The compositions of Steve Reich and György Ligeti both contain periodic rhythmic structures. Although periods are not usually easily perceived, the listener may perceive their combinations in a hierarchy of rhythmic structures. This document is an attempt to develop an analytical method that can account for this hierarchy in periodic music. I begin with an overview of the features of Reich's and Ligeti's music that contribute to the property of periodicity. I follow with a discussion of the music and writings of Olivier Messiaen as a precedent for the periodic structures in the music of Reich and Ligeti. I continue by consulting the writings of the Israeli musicologist Simha Arom and describing the usefulness of his ideas and terminology in the development of my method. I explain the working process and terminology of the analytical method, and then I apply it to Reich's Six Pianos and Ligeti's Désordre.
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Consonance, Tertian Structures and Tonal Coherence in Wladimir Vogel's Dodecaphonic World

Consonance, Tertian Structures and Tonal Coherence in Wladimir Vogel's Dodecaphonic World

Date: December 2002
Creator: Hale, Jacquelyn
Description: Wladimir Vogel's (1896-1984) interest in twelve-tone composition began to develop in 1936 after hearing a series of lectures by Willi Reich, a music critic and supporter of the new music of the Second Viennese School. The transition for Vogel from a large-scale orchestral “classical” style, influenced by his study with Ferruccio Busoni in Berlin in the early 1920s, to a new technique involving dodecaphony is apparent in his instrumental writing, the third and fourth movements of the Konzert für Violine und Orchester (1937), as well as in his vocal writing, the Madrigaux for mixed a cappella choir (1938/39). Vogel's twelve-tone works exhibit tertian structures which are particularly emphasized by triads located as consecutive pitches within the rows. Emphasis on tertian structures are not limited to small-scale segmentation of the rows but can also be seen in the structural and tonal organization of complete movements and works. A primary example is the Konzert für Violoncello und Orchester (Cello Concerto) (1955) in which, on a smaller scale, the presentation of the row emphasizes both diminished and minor triads, and at the macro level, the structural triadic relationships unify passages within individual movements as well as the concerto as a whole. Since the ...
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The Segmentation Process and its Influence on Structure in the  Malheur Me Bat Masses of Obrecht and Josquin

The Segmentation Process and its Influence on Structure in the Malheur Me Bat Masses of Obrecht and Josquin

Date: December 2002
Creator: Jarzombek, Ralph
Description: This study examines in detail the various aspects of the segmentation process as applied by Obrecht and Josquin to the chanson Malheur me bat, especially the effect of this process on the structure of each composer's respective mass. Although musical aspects such as cadences and mode have varying degrees of influence on the structure of these two masses, the primary influence is the establishment of proportional relationships that occur as a result of the segmentation process. Sources of previous music research frequently point out that Obrecht's Mass utilizes both the Phrygian and Aeolian modes, while in Josquin's Mass the Phrygian mode is the firmly established mode throughout. Since segments in Obrecht's Mass are usually not connected to one another, strong cadences frequently occur at the end of the segments throughout. On the other hand, since the segments in Josquin's Mass are usually connected to one another, weak internal cadences frequently occur throughout, with strong cadences reserved for the end of sections.
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Begleitungsmusik zu einer Lichtspielszene, Op. 34: Evidence of Arnold Schoenberg's  musikalische Gedanke

Begleitungsmusik zu einer Lichtspielszene, Op. 34: Evidence of Arnold Schoenberg's musikalische Gedanke

Date: May 2004
Creator: Fukuchi, Hidetoshi
Description: Composition for Arnold Schoenberg is a comprehensible presentation of a musical idea (musikalische Gedanke); the totality of a piece represents the idea. For tonal works, he defines Gedanke as a process of resolving the "tonal relation" or "tonal problem." Contrary to the numerous tonal examples illustrating the notion of Gedanke, Schoenberg hardly expounds on the Gedanke principle for his atonal and twelve-tone repertoires. This study reevaluates Schoenberg's compositional philosophy and aesthetics including Gedanke, comprehensibility, Grundgestalt, and developing variation in light of his compositional practices in Begleitungsmusik zu einer Lichtspielszene, Op. 34. Although Schoenberg denies the existence of a tonal problem and hierarchy among pitches in twelve-tone compositions, the registral placement found in Op. 34 indicates certain functionality assigned to each pitch-class, producing a sense of "departure and return." The approach here elucidates the "idea" of Op. 34, in which the large-scale formal organization unfolds through contextually emphasized tonal relations. This study also explores Schoenberg's concept of the multi-dimensional presentation of a musical idea. Even though Schoenberg's discussion of musical coherence is usually limited to the immediate musical surface, I believe that he was also aware of an extended realization of foreground motives in the sense of Heinrich Schenker's "concealed motivic ...
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