Latest content added for UNT Digital Library Partner: UNT Librarieshttps://digital.library.unt.edu/explore/partners/UNT/browse/?fq=str_degree_department:College+of+Music&start=330&fq=untl_decade:2000-2009&fq=untl_collection:UNTETD2007-09-24T22:18:17-05:00UNT LibrariesThis is a custom feed for browsing UNT Digital Library Partner: UNT LibrariesThe Effect of Three Different Levels of Skill Training in Musical Timbre Discrimination on Alphabet Sound Discrimination in Pre-Kindergarten and Kindergarten Children2007-09-24T22:18:17-05:00https://digital.library.unt.edu/ark:/67531/metadc2544/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2544/"><img alt="The Effect of Three Different Levels of Skill Training in Musical Timbre Discrimination on Alphabet Sound Discrimination in Pre-Kindergarten and Kindergarten Children" title="The Effect of Three Different Levels of Skill Training in Musical Timbre Discrimination on Alphabet Sound Discrimination in Pre-Kindergarten and Kindergarten Children" src="https://digital.library.unt.edu/ark:/67531/metadc2544/small/"/></a></p><p>The purpose of this study was to investigate the effects of three different levels of skill training in musical timbre discrimination on alphabet sound discrimination in pre-kindergarten and kindergarten children.
The findings of prior investigations indicated similarities between aural music and language perception. Psychoacoustic and neurological findings have reported the discrimination of alphabet quality and musical timbre to be similar perceptual functions and have provided, through imaging technology, physical evidence of music learning simultaneously stimulating non-musical areas of the brain.
This investigator hypothesized that timbre discrimination, the process of differentiating the characteristic quality of one complex sound from another of identical pitch and loudness, may have been a common factor between music and alphabet sound discrimination. Existing studies had not explored this relationship or the effects of directly teaching for transfer on learning generalization between skills used for the discrimination of musical timbre and alphabet sounds.
Variables identified as similar from the literature were the discrimination of same- different musical and alphabet sounds, visual recognition of musical and alphabet pictures as sound sources, and association of alphabet and musical sounds with matching symbols.
A randomized pre-post test design with intermittent measures was used to implement the study. There were 5 instructional groups. Groups 1, 2,and 3 received one, two and three levels of skill instruction respectively. Groups 4 received three levels of skill training with instruction for transfer; Group 5 traditional timbre instruction. Students were measured at the 5th (Level 1), 10th (Level 2), 14th (Level 3), and 18th (delayed re-test), weeks of instruction.
Results revealed timbre discrimination instruction had a significant impact on alphabet sound-symbol discrimination achievement in pre-kindergarten and kindergarten children. Different levels of timbre instruction had different degrees of effectiveness on alphabet sound discrimination. Students who received three levels of timbre discrimination instruction and were taught to transfer skill similarities from music timbre discrimination to alphabet sound discrimination, were significantly more proficient in alphabet sound symbol discrimination than those who had not received instruction Posttest comparisons indicated skill relationships were strengthened by instruction for transfer. Transfer strategies had a significant impact on the retention of newly learned skills over time.</p>Heart of the Fathers, for Wind Symphony2007-09-24T22:18:08-05:00https://digital.library.unt.edu/ark:/67531/metadc2546/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2546/"><img alt="Heart of the Fathers, for Wind Symphony" title="Heart of the Fathers, for Wind Symphony" src="https://digital.library.unt.edu/ark:/67531/metadc2546/small/"/></a></p><p>Heart of the Fathers is a programmatic, seven movement work for wind symphony depicting my ancestors and their role as part of the history of The Church of Jesus Christ of Latter-day Saints. The movements represent their spiritual experiences, labors, times of joy, persecution, migration, and finally their arrival and success in their new homeland.
The piece is organized in seven movements. Each movement represents a different portion of history leading to the western migration of my ancestors. The programmatic music contains a variety of symbols depicting the experiences of the pioneers.
In the paper, each chapter addresses an individual movement. For each movement, the following information is provided: the historical events that inspired the piece, the musical symbols that characterize the program, and an analysis of the function of the music.</p>Beyond the Human Voice: Francis Poulenc's Psychological Drama La Voix humaine (1958)2007-09-24T22:18:04-05:00https://digital.library.unt.edu/ark:/67531/metadc2543/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2543/"><img alt="Beyond the Human Voice: Francis Poulenc's Psychological Drama La Voix humaine (1958)" title="Beyond the Human Voice: Francis Poulenc's Psychological Drama La Voix humaine (1958)" src="https://digital.library.unt.edu/ark:/67531/metadc2543/small/"/></a></p><p>Francis Poulenc's one-character opera La Voix humaine (1958), a setting of the homonymous play by Jean Cocteau, explores the psychological complexities of an unnamed woman as she experiences the end of a romantic relationship. During the forty-minute work, she sings in a declamatory manner into a telephone, which serves as a sign of the unrevealed man at the other end. Poulenc uses musical motives to underscore the woman's changing emotional states as she recalls her past relationship. The musical dramaturgy in this work resignifies Debussy's impressionist symbolism by collapsing devices used in Pelléas et Mélisande in a language that shifts between octatonicism, chromaticism, harmonic and melodic whole tone passages, and diatonicism. This late work recontextualizes elements in Poulenc's Dialogues des Carmélites (1953-56), and the end of the opera provides a theme for his Sonate pour Clarinet et Piano(1962), as Poulenc reflects on his youthful encounters with Cocteau, Erik Satie, and Les Six.</p>An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski2007-09-24T22:17:47-05:00https://digital.library.unt.edu/ark:/67531/metadc2548/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc2548/"><img alt="An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski" title="An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski" src="https://digital.library.unt.edu/ark:/67531/metadc2548/small/"/></a></p><p>The purpose of this study is to analyze sets of variations on Paganini's theme by three twentieth-century composers: Ferruccio Busoni, Ignaz Friedman, and Robert Muczynski, in order to examine, identify, and trace different variation techniques and their applications. Chapter 1 presents the purpose and scope of this study. Chapter 2 provides background information on the musical form "theme and variations" and the theme of Paganini's Twenty-fourth Caprice, Op. 1. Chapter 2 also deals with the question of which elements have made this theme so popular. Chapters 3,4, and 5 examine each of the three sets of variations in detail using the following format: theme, structure of each variation, harmony and key, rhythm and meter, tempo and dynamics, motivic development, grouping of variations, and technical problems. Chapter 6 summarizes the findings from this study and attempts to compare those elements among the three variations. Special attention is given to the application of the motivic cells, which are drawn from the original Paganini theme, in the development of succeeding variations. This study shows how these motivic cells contribute to the construction of new motives and melodies in each variation. Additionally, this study attempts to examine each composer's efforts in expanding variation procedure to the areas of structures and tempo markings in succeeding variations.</p>