Latest content added for UNT Digital Library Partner: UNT Librarieshttps://digital.library.unt.edu/explore/partners/UNT/browse/?fq=str_degree_discipline:Musicology&display=brief2020-06-15T19:38:58-05:00UNT LibrariesThis is a custom feed for browsing UNT Digital Library Partner: UNT LibrariesBridging the Fantastical Gap: Dread and the Uncanny in the Score of "It Follows"2020-06-15T19:38:58-05:00https://digital.library.unt.edu/ark:/67531/metadc1703402/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1703402/"><img alt="Bridging the Fantastical Gap: Dread and the Uncanny in the Score of "It Follows"" title="Bridging the Fantastical Gap: Dread and the Uncanny in the Score of "It Follows"" src="https://digital.library.unt.edu/ark:/67531/metadc1703402/small/"/></a></p><p>"It Follows" (2014), written and directed by David Robert Mitchell, premiered at the Cannes Film Festival in 2014. It chronicles the story of Jay, a college student who contracts a curse through sexual intercourse. The curse manifests itself as a human whom only the infected persons can see, always following at a walking pace, and determined to kill if it catches up. This thesis demonstrates the score's crucial role in establishing affect, setting, and character in a film with sparse dialogue and a silent monster. Moreover, the score creates a sense of the uncanny by complicating the binary between music and sound effect and fulfills the need to create dread without resorting to the loud or sudden sounds traditionally heard in horror films. The score's composer, Richard Vreeland, achieves this effect by drawing on both classical film scoring techniques as well as more modern horror scoring styles. It is this interaction between styles that enhances the viewers' experience of dread and horror in the film. This thesis analyzes how Vreeland's score for "It Follows" exploits the poetics of the fantastical gap, of the uncanny, and of musical semiosis. I primarily focus on the "Heels" theme and use of drones in "It Follows," tracing how these musical features blur the distinction between what is score and what is sound effect. I also examine the use of melodic themes in a primarily non-melodic score. By analyzing these elements, I show how Richard Vreeland uses both classical and modern scoring techniques to answer his own question: "Why is this scary? What could push that emotion even further?"</p>Transatlantic Crossings: Nadia Boulanger and Marion Bauer2019-08-29T10:25:12-05:00https://digital.library.unt.edu/ark:/67531/metadc1538643/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1538643/"><img alt="Transatlantic Crossings: Nadia Boulanger and Marion Bauer" title="Transatlantic Crossings: Nadia Boulanger and Marion Bauer" src="https://digital.library.unt.edu/ark:/67531/metadc1538643/small/"/></a></p><p>In the summer of 1906, Marion Bauer (1882-1955) boarded a ship to Paris to meet with Raoul Pugno, a French pianist and composer. Juliette Nadia Boulanger (1887-1979) was also close with Pugno around the same time. Living with the Pugno family in Gargenville during the summer, Bauer was able to travel to Paris, where she met several important musicians of the time and also nineteen-year-old Boulanger. Pugno, who worked closely with Boulanger, asked her to teach counterpoint and harmony to Bauer. Boulanger agreed and reportedly asked Bauer for English lessons in payment. Both women went on to become important music pedagogues, teaching hundreds of students. Their meeting allowed Bauer and Boulanger to share their ideas on teaching and music with each other. As time passed, the relationship between the two women fade from collective memory, but Boulanger's teaching principles of harmony, hearing, la grande ligne, and music history and literature live on through her students and fellow teachers and composers. Bauer's writings demonstrate similarities to these four key principles. Using Kimberly Francis and Emily Green's understanding of Pierre Bourdieu's theory of cultural production and an analysis of Boulanger's pedagogical principles, I believe that Boulanger's early accumulation of cultural capital and experience was shared with Bauer, assisting Bauer in her future role as American music pedagogue.</p>Allusions and Borrowings in Selected Works by Christopher Rouse: Interpreting Manner, Meaning, and Motive through a Narratological Lens2019-06-09T21:09:49-05:00https://digital.library.unt.edu/ark:/67531/metadc1505169/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1505169/"><img alt="Allusions and Borrowings in Selected Works by Christopher Rouse: Interpreting Manner, Meaning, and Motive through a Narratological Lens" title="Allusions and Borrowings in Selected Works by Christopher Rouse: Interpreting Manner, Meaning, and Motive through a Narratological Lens" src="https://digital.library.unt.edu/ark:/67531/metadc1505169/small/"/></a></p><p>Christopher Rouse (b. 1949), winner of the Pulitzer Prize for his Trombone Concerto (1993) and a Grammy award for his Concerto de Gaudi (1999), has come to the forefront as one of America's most prominent orchestral composers. Several of Rouse's works feature quotations of and strong allusions to other composers' works that are used both rhetorically and structurally. These borrowings range from a variety of different genres and styles of works, from Claudio Monteverdi's L'incoronazione di Poppea to Jay Ferguson's "Thunder Island." Due to the more accessible filtering and funneling methods of musical borrowings (proliferation of mass media), the weighty discourses attached to them, and their variety of functions (critiquing canons, engaging in an allusive tradition, etc.), quotation has become elevated to the most prominent of musical actors that trigger narrative listening strategies, which in turn have a stronger role in the formation of narratives about music as well as narratives of music. The primary aim of this study is to adapt and apply more recent methodological narrativity frameworks to selected instrumental compositions by Rouse containing quotations, suggesting that their manner of insertion, their method of disclosure, and their referential potential can benefit from being examined through various narrative lenses as well as reveal their participation in certain roles of narrative functions. For this study, I have chosen six instrumental works by Rouse for examination - the Violoncello Concerto, Symphony No. 1, Iscariot, String Quartet No. 2, Seeing, and Thunderstuck. On a more specific level, the aim of this study is to investigate the manner, meaning, and motive of the quoted material in a select group of Rouse's compositions through various narratological lenses. To accomplish this, I intend 1) to establish a context for understanding the musical borrowing procedures of Rouse; 2) to explore how works containing quotations can be examined through various narrativity frameworks; 3) to inspect the ways in which borrowings can enhance or clarify the structural design and stylistic musical features for which he is known; 4) to investigate the various meanings that are generated from his borrowings; 5) to consider the extent to which Rouse's musical borrowings comment on various discourses, and 6) to examine the psychological needs of certain narratives triggered by quotation and the various questions they pose. This study does not attempt to systematically unify the works of Rouse that contain borrowings under a kind of "grand theory" in narrativity or borrowing studies, but rather to examine each work individually, noting the particular roles that borrowings play in regards to narratives of and about music. Fundamentally, I claim that narrativizing about music is a foundational psychological and social impulse, aiding to serve our curiosities about music's otherness qualities. Using both narratives of and about music to frame analyses, I hope to make a small contribution to the growing methodological frameworks of narrativity by featuring works containing borrowings by one individual composer, suggesting that other comprehensive approaches in borrowing studies can used for future composers.</p>Shaping Hagiography through Liturgy: Music for the Patron Saints of Three Cathedrals in Medieval Aquitaine2019-01-19T21:34:31-06:00https://digital.library.unt.edu/ark:/67531/metadc1404611/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1404611/"><img alt="Shaping Hagiography through Liturgy: Music for the Patron Saints of Three Cathedrals in Medieval Aquitaine" title="Shaping Hagiography through Liturgy: Music for the Patron Saints of Three Cathedrals in Medieval Aquitaine" src="https://digital.library.unt.edu/ark:/67531/metadc1404611/small/"/></a></p><p>While the development of hagiography over time has long attracted the attention of medievalists, scholars have not fully explored the critical role of the liturgy in prompting and transmitting these changes. This dissertation examines the liturgies for the patron saints of three musical and ecclesiastical centers in medieval Aquitaine: the cathedrals of Saint-Trophime in Arles, Saint-Just-et-Saint-Pasteur in Narbonne, and Saint-Étienne in Toulouse. Through the music, texts, and ritual actions of the liturgy, the clerical communities of these three institutions reinforced some aspects of their patron saint's legendary biography and modified others. Yet the process unfolded differently at each cathedral, revealing the particular preferences of the canons of each community as well as their changing circumstances during the Middle Ages. In Arles, the office for St. Trophime, which was likely composed at the cathedral, shows dramatic changes in the saint's hagiography. The clerics in Narbonne also composed an office for their patron saints but did not substantially change the details of Justus and Pastor's legendary biography. In Toulouse, the canons selected from among the preexisting repertoire of chants and texts available for St. Stephen, crafting liturgies that were particular to Saint-Étienne within a clearly Aquitanian context. By revealing the ways in which the clerics of Saint-Trophime, Saint-Just, and Saint-Étienne shaped the legendary biographies of their patron saints, my work provides new insights into the ways in which clerical communities throughout Latin Christendom shaped and reshaped the hagiographic portraits of their patron saints through the creation, compilation, and celebration of new liturgies.</p>Searching for Songs of the People: The Ideology of the Composers' Collective and Its Musical Implications2018-06-06T13:19:50-05:00https://digital.library.unt.edu/ark:/67531/metadc1157558/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1157558/"><img alt="Searching for Songs of the People: The Ideology of the Composers' Collective and Its Musical Implications" title="Searching for Songs of the People: The Ideology of the Composers' Collective and Its Musical Implications" src="https://digital.library.unt.edu/ark:/67531/metadc1157558/small/"/></a></p><p>The Composers' Collective, founded by leftist composers in 1932 New York City, sought to create proletarian music that avoided the "bourgeois" traditions of the past and functioned as a vehicle to engage Americans in political dialogue. The Collective aimed to understand how the modern composer became isolated from his public, and discussions on the relationship between music and society pervade the radical writings of Marc Blitzstein, Charles Seeger, and Elie Siegmeister, three of the organization's most vocal members. This new proletarian music juxtaposed revolutionary text with avant-garde musical idioms that were incorporated in increasingly greater quantities; thus, composers progressively acclimated the listener to the dissonance of modern music, a distinctive sound that the Collective hoped would become associated with revolutionary ideals. The mass songs of the two Workers' Song Books published by the Collective, illustrate the transitional phase of the musical implementation of their ideology. In contrast, a case study of the song "Chinaman! Laundryman!" by Ruth Crawford Seeger, a fringe member of the Collective, suggests that this song belongs within the final stage of proletarian music, where the text and highly modernist music seamlessly interact to create what Charles Seeger called an "art-product of the highest type."</p>Depicting Affect through Text, Music, and Gesture in Venetian Opera, c. 1640-16582018-06-06T13:19:50-05:00https://digital.library.unt.edu/ark:/67531/metadc1157551/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1157551/"><img alt="Depicting Affect through Text, Music, and Gesture in Venetian Opera, c. 1640-1658" title="Depicting Affect through Text, Music, and Gesture in Venetian Opera, c. 1640-1658" src="https://digital.library.unt.edu/ark:/67531/metadc1157551/small/"/></a></p><p>Although early Venetian operas by composers such as Claudio Monteverdi and Francesco Cavalli offer today's listeners profound moments of emotion, the complex codes of meaning connecting emotion (or affect) with music in this repertoire are different from those of later seventeenth-century operatic repertoire. The specific textual and musical markers that librettists and composers used to indicate individual emotions in these operas were historically and culturally contingent, and many scholars thus consider them to be inaccessible to listeners today. This dissertation demonstrates a new analytical framework that is designed to identify the specific combinations of elements that communicate each lifelike emotion in this repertoire. Re-establishing the codes that govern the relationship between text, musical sound, and affect in this repertoire illuminates the nuanced emotional language of operas by composers such as Claudio Monteverdi, Francesco Cavalli, Antonio Cesti, and Francesco Lucio. The new analytical framework that underlies this study derives from analysis of seventeenth-century Venetian explanations and depictions of emotional processes, which reveal a basis in their society's underlying Aristotelian philosophy. Chapters III and IV examine extant documents from opera librettists, composers, audience members, and their associates to reveal how they understood emotions to work in the mind and body. These authors, many of whom were educated by Aristotelian scholars at the nearby University of Padua, understood action and emotion to be bound together in a reciprocal, causal relationship, and this synthesis was reflected in the way that they depicted affect in opera. It also guided the ways that singer-actors performed and audiences interpreted this music. In contrast, post-1660 Baroque operas from France and Italy express affect according to the musical conventions of the Doctrine of Affections (based in the ideas of René Descartes) and aim to present a single, clear emotion for each large semantic unit (recitative or aria). This paradigm does not hold true for operas composed before 1660; thus, this vibrant repertoire requires a new analytical approach that respects its pre-Cartesian musical aesthetics. Early Venetian opera composers express not just one, but many affects in each semantic unit. In their operas, musical sound interacts directly with text and dramatic action on a line-by-line basis to produce an unprecedented fluidity of emotional meaning. Chapter II describes a new analytical framework based in this understanding to reveal the means that librettists, composers, and performers used to communicate emotion in this repertoire. Chapters V through X contain hermeneutic and musical analyses (according to the method described in Chapter II) of case studies drawn from Venetian operas performed between 1640 and 1658. These chapters illustrate how this repertoire uses a flexible but well-defined system of musical and textual markers to convey characters' emotions. This new approach unlocks an aesthetic system that privileges the fluid, real-time emotional reactions of the individual in accordance with Aristotelian emotional understanding. In Chapters XI and XII, supporting information gleaned from seventeenth-century acting treatises, reception documents, and conduct books enables an examination of the singer's role in depicting these textual and musical representations of affect in performance. These two chapters address seventeenth-century views on affective communication through voice acting and physical gesture, together with recommendations for today's singers who perform this repertoire. In taking a systematic approach to the identification of specific textual, musical, and gestural means for communicating affect in early Venetian opera, this dissertation offers a new approach to analyzing and performing its dynamic emotional content.</p>Ode to the Ninth: the Poetic and Musical Tradition Behind the Finale of Beethoven's Choral Symphony2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935728/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935728/"><img alt="Ode to the Ninth: the Poetic and Musical Tradition Behind the Finale of Beethoven's Choral Symphony" title="Ode to the Ninth: the Poetic and Musical Tradition Behind the Finale of Beethoven's Choral Symphony" src="https://digital.library.unt.edu/ark:/67531/metadc935728/small/"/></a></p><p>This study examines the finale of Beethoven's choral symphony and focuses on its inspirations and aims to invoke critical theories involving genre, namely genre's "horizon of expectation", and lead to an enriched perspective that points toward a number of compelling aspects of the Choral Finale overlooked by previous commentators.</p>A Comparative Study of Harmonic Tension in Hindemith's Piano Sonatas and in His Theoretical Writings2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935710/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935710/"><img alt="A Comparative Study of Harmonic Tension in Hindemith's Piano Sonatas and in His Theoretical Writings" title="A Comparative Study of Harmonic Tension in Hindemith's Piano Sonatas and in His Theoretical Writings" src="https://digital.library.unt.edu/ark:/67531/metadc935710/small/"/></a></p><p>The purpose of this paper will be to compare the Hindemith theory of harmonic tension as set forth in his book, Craft of Musical Composition, with his actual use of harmonic tension in compositional practice. The compositions used for this study are Hindemith's Sonaten für Klavier, published in 1936, consisting of three sonatas*. Although these pieces were published one year before the theory book, it seems reasonable to assume that Hindemith was at least formulating the ideas that would go into his book, and quite possibly was already writing it. The copyright date of the book is 1937. Therefore, any conclusions derived from the following analysis will not be affected to any degree by the time lapse between the writing of the two works in question. Analysis of the Sonaten für Klavier by Paul Hindemith reveals the fact that each of the sonatas is very different from the other two; hence, conclusions which apply to all three works are not generally possible.</p>Form and Meaning in Benjamin Britten's Sonnet Cycles2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935804/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935804/"><img alt="Form and Meaning in Benjamin Britten's Sonnet Cycles" title="Form and Meaning in Benjamin Britten's Sonnet Cycles" src="https://digital.library.unt.edu/ark:/67531/metadc935804/small/"/></a></p><p>This study examines the relationship between sonnet form and musical form in Benjamin Britten's sonnet cycles with a view toward identifying the musico-poetic form how the musical form interprets the poetry. Several issues come to the fore: 1) articulation of the large-scale divisions of the poetic form in the music; 2) potential of the musical setting to make connections between lines of the text ; 3) potential of the musical setting to follow or imitate the thought processes of the poem; and 4) placement of the departure and return.</p>Jewish Elements in Representative Published Piano Works of Charles Valentine Morhange (Alkan)2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935806/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935806/"><img alt="Jewish Elements in Representative Published Piano Works of Charles Valentine Morhange (Alkan)" title="Jewish Elements in Representative Published Piano Works of Charles Valentine Morhange (Alkan)" src="https://digital.library.unt.edu/ark:/67531/metadc935806/small/"/></a></p><p>The purpose of this study is to show interrelationships between the thematic contents of those piano works by Alkan that are considered to be representative of his general style and the more commonly used melodic phrases taken from the Jewish Synagogue, mainly prayer chants and accents. An attempt will be made to point out the reason behind consequent unacceptable of Alkan's piano works, despite the efforts of Busoni, d'Albert, and Lewenthal to bring them to public attention. The results of this investigation are presented in a systematic analysis and discussion of Jewish prayer-chants and their structure traceable within Alkan's music and in a presentation in table form of the Jewish accents found among Alkan's melodies. After consideration of the outcome of analysis, elements which are known to be European are also presented. These are mainly keyboard virtuousity and harmony and secondarily, form and rhythm. In this section, Robert Schumann's opinions of Alkan's music are quoted and discussed. Because Schumann's ideas carried into the twentieth century, this gave opportunity for a re-evaluation of the lack of musical beauty inherent in Alkan's music.</p>Remarks and Reflections on French Recitative: Ban Inquiry into Performance Practice Based on the Observations of Bénigne de Bacilly, Jean-Léonor de Grimarest, and Jean-Baptiste Dubos2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935821/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935821/"><img alt="Remarks and Reflections on French Recitative: Ban Inquiry into Performance Practice Based on the Observations of Bénigne de Bacilly, Jean-Léonor de Grimarest, and Jean-Baptiste Dubos" title="Remarks and Reflections on French Recitative: Ban Inquiry into Performance Practice Based on the Observations of Bénigne de Bacilly, Jean-Léonor de Grimarest, and Jean-Baptiste Dubos" src="https://digital.library.unt.edu/ark:/67531/metadc935821/small/"/></a></p><p>This study concerns the declaimed performance of recitative in early French opera. Because the dramatic use of the voice was crucial to the opera genre, this investigation begins with a survey of historical definitions of declamation. Once the topic has been described, the thesis proceeds to thoroughly study three treatises dealing with sung recitation: Bacilly's Remarques curieuses, Grimarest's Traité de recitatif, and Dubos' Reflexions critiques. Principles from these sources are then applied to representative scenes from the literature. The paper closes with a commentary on the relationship between spoken and sung delivery and on the development of different declamatory styles.</p>An analysis of Brahms' Quintet in B minor, op. 115, for clarinet and strings2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935653/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935653/"><img alt="An analysis of Brahms' Quintet in B minor, op. 115, for clarinet and strings" title="An analysis of Brahms' Quintet in B minor, op. 115, for clarinet and strings" src="https://digital.library.unt.edu/ark:/67531/metadc935653/small/"/></a></p><p>Although many volumes concerning the life and works of Johannes Brahms have been written, it has been found that the majority of these writings treat the material of the subject in a rather poetic and romanticized fashion. This is especially unfortunate in those volumes where the works of Brahms are analyzed with pragmatic implications, since Brahms himself eschewed the use of extramusical elements in his composition. This investigation, therefore, is an attempt to present a careful analysis of one of these compositions, the Quintet in B Minor, Op. 115, for clarinet and string quartet.</p>Respond Motets from Matins for the Dead by Robert Parsons2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935722/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935722/"><img alt="Respond Motets from Matins for the Dead by Robert Parsons" title="Respond Motets from Matins for the Dead by Robert Parsons" src="https://digital.library.unt.edu/ark:/67531/metadc935722/small/"/></a></p><p>The three respond motets from Matins for the Dead by Robert Parsons constitute an important part of the sacred Latin repertory of mid-sixteenth-century England, illustrating central features of the English mid-century style. Although he worked within a conservative musical tradition, Parsons experimented with that tradition in personal and individual ways. Specifically his modal and thematic construction as well as his practice of musica ficta are singled out for closer analysis. Consequently, a methodology for editorial decisions concerning musica ficta is developed. Two special problems, the simultaneous cross-relation and diminished fourth, are shown as the result of normative polyphonic processes and vertical structures.</p>Édouard Batiste's Symphonie militaire (1845): edition and commentary2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935664/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935664/"><img alt="Édouard Batiste's Symphonie militaire (1845): edition and commentary" title="Édouard Batiste's Symphonie militaire (1845): edition and commentary" src="https://digital.library.unt.edu/ark:/67531/metadc935664/small/"/></a></p><p>Symphonie Militaire is a three movement work for twelve solo wind instruments composed by Edouard Batiste (1820-1876), a professor at the Paris Conservatoire and organist. The composition is scored for flute, two oboes, two B-flat clarinets, two bassoons, E-flat trumpet with valves, two F horns with valves, trombone, and B-flat ophicleide. In this edition, which was prepared from the original manuscript, the trumpet part is transposed to B-flat and a tuba has been substituted for the ophicleide. Based on a study of the score, as well as knowledge of wind band music of the period, several speculations have been made concerning the reason for the composition of the piece. The limited instrumentation supports the idea that, like other military symphonies, Symphonie Militaire may have been written for a special occasion. The work is, however, at least a reflection of the concern in 1845 for the reconstruction of the French military bands.</p>Mahler's Tristan, A Documentary Study of Reception2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935778/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935778/"><img alt="Mahler's Tristan, A Documentary Study of Reception" title="Mahler's Tristan, A Documentary Study of Reception" src="https://digital.library.unt.edu/ark:/67531/metadc935778/small/"/></a></p><p>Conductors are oftern associated with a specific body of work in their repertoy. Gustav Mahler's conducting repertory contained some major Wagnerian works, including Tristan und Isolde. Mahler's first performance of Tristan took place during his tenure at the Stadttheater in Hamburg (1891-1897). It remained an integral part of his repertory through his tenure at the Vienna Hofoper (1897-1907), and was one of eight works he conducted at New York's Metropolitan Opera (1907-1910). This study includes a brief history of Mahler's education and a description of his conducting style characteristics. It traces the reception of Mahler's production of Tristan from Hamburg to New York, and focuses on his performances at the Hofoper and at the Metropolitan Opera. Sources used to determine performance changes he made include letters, personal reminiscences of friends and critics, and newspaper and journal reviews.</p>Zweyer Gleich-Gesinnten Freunde Tugend- und Schertz-Lieder by Johann Jacob Löwe and Julius Johann Weiland2016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935612/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935612/"><img alt="Zweyer Gleich-Gesinnten Freunde Tugend- und Schertz-Lieder by Johann Jacob Löwe and Julius Johann Weiland" title="Zweyer Gleich-Gesinnten Freunde Tugend- und Schertz-Lieder by Johann Jacob Löwe and Julius Johann Weiland" src="https://digital.library.unt.edu/ark:/67531/metadc935612/small/"/></a></p><p>The purpose of this thesis was to make available for performance and study an edition of the twenty-two secular songs published in this collection by Johann Jacob Löwe and Julius Johann Weiland in 1657. The thesis contains twenty-two secular songs for one, two, or three voices with continuo accompaniment and ritornellos for one or two violins, and/or viola, as well as translations of Lowe's preface and dedication and a poem to Lower and Weiland by Heinrich Schaffer. The work contains three chapters, the first covering Lowe's life and work and association with Weiland, the second the state of German secular song in 16050, and the third a critical commentary on the editing of the songs. Editorial corrections are included.</p>Alban Berg as Liedkomponist: An Analytical Study of his Two Settings of "Schliesse mir die Augen beide," 1907 and 19252016-11-15T10:54:02-06:00https://digital.library.unt.edu/ark:/67531/metadc935595/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc935595/"><img alt="Alban Berg as Liedkomponist: An Analytical Study of his Two Settings of "Schliesse mir die Augen beide," 1907 and 1925" title="Alban Berg as Liedkomponist: An Analytical Study of his Two Settings of "Schliesse mir die Augen beide," 1907 and 1925" src="https://digital.library.unt.edu/ark:/67531/metadc935595/small/"/></a></p><p>Alan Berg's two musical settings of Theodor Storm's poem"Schliesse mir die Augen beide" have received little in the way of scholarly analytical attention. The three major chapters of this thesis deal with the two settings on three different levels. Chapter II surveys the political and cultural milieu in which Berg functioned as a young composer of Lieder in the years 1900-1910. Chapter III examines the special quality of lyricism which is often attributed to Berg and his works. Chapter IV provides more definitive and complete musical analyses of the two settings than have heretofore been available. The question of what role songwriting played in the development of Berg's compositional process is addressed in the conclusion.</p>Opera and Society in Early-Twentieth-Century Argentina: Felipe Boero's El Matrero2016-08-31T22:41:47-05:00https://digital.library.unt.edu/ark:/67531/metadc862860/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc862860/"><img alt="Opera and Society in Early-Twentieth-Century Argentina: Felipe Boero's El Matrero" title="Opera and Society in Early-Twentieth-Century Argentina: Felipe Boero's El Matrero" src="https://digital.library.unt.edu/ark:/67531/metadc862860/small/"/></a></p><p>Premiering at the twilight of the gauchesco era and the dawn of Argentine musical Modernism, El matrero (1929) by Felipe Boero (1884-1958) remains underexplored in terms of its social milieu and artistic heritage. Instantly hailed as a masterpiece, the work retains a place in the local repertory, though it has never been performed internationally. The opera draws on myths of the gaucho and takes further inspiration from the energized intellectual environment surrounding the one-hundred-year anniversary of Argentine Independence. The most influential writers of the Centenary were Leopoldo Lugones (1874-1938), Ricardo Rojas (1882-1957), and Manuel Gálvez (1882-1962). Their times were marked by contradictions: xenophobia and the desire for foreign approbation; pride in an imaginary, "barbaric" yet noble ideal wiped out by the "civilizing" ambitions of revered nineteenth-century leaders. Krausism, a system of ideas following the teachings of Karl Friedrich Krause (1781-1832), had an impact on the period as exhibited in the political philosophy of Hipólito Yrigoyen (1852-1933), who served as president from 1916 to 1922 and 1928 to 1930 when he was deposed by a right-wing coup d'état. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation.
Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate.
Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus.
The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings.
The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation.</p>The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c.1918-19232016-08-31T22:41:47-05:00https://digital.library.unt.edu/ark:/67531/metadc862862/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc862862/"><img alt="The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c.1918-1923" title="The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c.1918-1923" src="https://digital.library.unt.edu/ark:/67531/metadc862862/small/"/></a></p><p>This dissertation investigates how German-language critics articulated and publicly negotiated ideas about music and expressionism in the first five years after World War I. A close reading of largely unexplored primary sources reveals that "musical expressionism" was originally conceived as an intrinsically musical matter rather than as a stylistic analog to expressionism in other art forms, and thus as especially relevant to purely instrumental rather than vocal and stage genres. By focusing on critical reception of an unlikely group of instrumental chamber works, I elucidate how the acts of performing, listening to, and evaluating "expressionist" music were enmeshed in the complexities of a politicized public concert life in the immediate postwar period. The opening chapters establish broad music-aesthetic and sociopolitical contexts for critics' postwar discussions of "musical expressionism." After the first, introductory chapter, Chapter 2 traces how art and literary critics came to position music as the most expressionist of the arts based on nineteenth-century ideas about the apparently unique ontology of music. Chapter 3 considers how this conception of expressionism led progressive-minded music critics to interpret expressionist music as the next step in the historical development of absolute music. These critics strategically—and controversially—portrayed Schoenberg's "atonal" polyphony as a legitimate revival of "linear" polyphony in fugues by Bach and late Beethoven. Chapter 4 then situates critical debates about the musical and cultural value of expressionism within broader struggles to construct narratives that would explain Germany's traumatic defeat in the Great War and abrupt restructuring as a fragile democratic republic. Against this backdrop, the later chapters explore critics' responses to public performances of specific "expressionist" chamber works. Chapter 5 traces reactions to a provocative performance of Schoenberg's Chamber Symphony, op. 9 (1906) at the Berlin Volksbühne in February 1920. Chapter 6 examines the interplay of musical-aesthetic and sociopolitical issues in critical reception of several postwar concerts that juxtaposed Schoenberg's "expressionist" Chamber Symphony with Franz Schreker's "impressionist" Chamber Symphony (1916). Chapter 7 considers how critics situated performances of Alexander Zemlinsky's Second String Quartet, op. 15 (1916) in relation to ideas about "expressionism" in music. Finally, Chapter 8 considers critical reception of performances of Béla Bartók's Second String Quartet, op. 17 (1917) in the context of two concert series sponsored by "expressionist" journals: the Anbruch-Abende in Vienna (1918) and the Melos-Abende in Berlin (1922 and 1923). Each of these final chapters uses contemporary criticism as a vehicle for a close reading of the relevant musical work, resulting in a portrait of "expressionist" music that is both contextually and musically nuanced.</p>Composing Symbolism's Musicality of Language in Fin-de-siècle France2016-08-31T22:41:47-05:00https://digital.library.unt.edu/ark:/67531/metadc862749/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc862749/"><img alt="Composing Symbolism's Musicality of Language in Fin-de-siècle France" title="Composing Symbolism's Musicality of Language in Fin-de-siècle France" src="https://digital.library.unt.edu/ark:/67531/metadc862749/small/"/></a></p><p>In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde's one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte's Salomé, Richard Strauss's Salomé, Aleksandr Glazunov's Introduction et La Danse de Salomée, and Florent Schmitt's La Tragédie de Salomé. Recognition of symbolist influence on composition, and, in the case of works for the stage, on production and performance expands the repertory of music we can view critically through the lens of symbolism, developing not only our understanding of music's role in this difficult and often contradictory aesthetic philosophy but also our perception of fin-de-siècle musical culture in general.</p>Sensitivity, Inspiration, and Rational Aesthetics: Experiencing Music in the North German Enlightenment2016-03-20T10:34:12-05:00https://digital.library.unt.edu/ark:/67531/metadc822804/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc822804/"><img alt="Sensitivity, Inspiration, and Rational Aesthetics: Experiencing Music in the North German Enlightenment" title="Sensitivity, Inspiration, and Rational Aesthetics: Experiencing Music in the North German Enlightenment" src="https://digital.library.unt.edu/ark:/67531/metadc822804/small/"/></a></p><p>This dissertation examines pre-Kantian rational philosophy and the development of the discipline of aesthetics in the North German Enlightenment. With emphasis on the historical conception of the physiological and psychological experience of music, this project determines the function of music both privately and socially in the eighteenth century. As a result, I identify the era of rational aesthetics (ca.1750-1800) as a music-historical period unified by the aesthetic function and metaphysical experience of music, which inform the underlying motivation for musical styles, genres, and means of expression, leading to a more meaningful and compelling historical periodization. The philosophy of Alexander Baumgarten, Johann Georg Sulzer, and others enable definitions of the experience of beautiful objects and those concepts related to music composition, listening, and taste, and determine how rational aesthetics impacted the practice, function, and ultimately the prevailing style of music in the era. The construction, style, and performance means of the free fantasia, the most personal and expressive genre of the era, identify its function as the private act of solitude, or a musical meditation. An examination of pleasure societies establishes the role of music in performance and discussion in both social gatherings and learned musical clubs for conveying the morally good, which results in the spread of good taste. Taken together, the complimentary practices of private and social music played a significant role in eighteenth-century life for developing the self, through personal taste, and society, through a morally good culture.</p>Foreignizing Mahler: Uri Caine’s Mahler Project As Intertraditional Musical Translation2016-03-04T16:14:01-06:00https://digital.library.unt.edu/ark:/67531/metadc804974/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc804974/"><img alt="Foreignizing Mahler: Uri Caine’s Mahler Project As Intertraditional Musical Translation" title="Foreignizing Mahler: Uri Caine’s Mahler Project As Intertraditional Musical Translation" src="https://digital.library.unt.edu/ark:/67531/metadc804974/small/"/></a></p><p>The customary way to create jazz arrangements of the Western classical canon—informally called swingin’-the-classics—adapts the original composition to jazz conventions. Uri Caine (b.1956) has devised an alternative approach, most notably in his work with compositions by Gustav Mahler. He refracts Mahler’s compositions through an eclectic array of musical performance styles while also eschewing the use of traditional jazz structures in favor of stricter adherence to formal ideas in the original score than is usual in a jazz arrangement. These elements and the manner in which Caine incorporates them in his Mahler arrangements closely parallel the practices of a translator who chooses to create a “foreignizing” literary translation. The 19th-century philosopher and translation theorist Friedrich Schleiermacher explained that in a foreignizing translation “the translator leaves the writer alone as much as possible and moves the reader toward the writer.” Foreignizing translations accentuate the otherness of the original work, approximating the foreign text’s form and syntax in the receiving language and using an uncommon, heterogeneous vocabulary. The resulting translations, which challenge readers with their frequent defiance of the conventions of the receiving linguistic culture, create literal, exaggerated readings that better convey authors’ characteristic use of their own languages for a new audience. My study of Caine’s music—which includes a survey of previously unavailable manuscripts and an exploration of selected arrangements using an analytical method designed to address the qualities in music that parallel foreignizing translation-contextualizes Caine’s modifications to Mahler’s compositions to generate intertextual readings that simultaneously highlight the ways that Mahler was innovative within his own tradition.</p>Wagner's Das Liebesverbot2016-01-14T20:34:50-06:00https://digital.library.unt.edu/ark:/67531/metadc798143/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc798143/"><img alt="Wagner's Das Liebesverbot" title="Wagner's Das Liebesverbot" src="https://digital.library.unt.edu/ark:/67531/metadc798143/small/"/></a></p><p>Wagner's second opera Das Liebesverbot, composed in 1835 and first performed in Magdeburg in 1836, could be termed Wagner's "Italian" opera. It represents Wagner's attitudes and feelings at the time of its composition. During this period in Wagner's life the composer had become particularly enchanted with Italian music and also with the Italian way of sensuous and carefree living. At the same time his disillusionment with German conservatism and pedantry also had an influence on the composition of this opera.</p>The Dramatic and Musical Unity of Hector Berlioz's Les Troyens2016-01-14T20:34:50-06:00https://digital.library.unt.edu/ark:/67531/metadc798101/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc798101/"><img alt="The Dramatic and Musical Unity of Hector Berlioz's Les Troyens" title="The Dramatic and Musical Unity of Hector Berlioz's Les Troyens" src="https://digital.library.unt.edu/ark:/67531/metadc798101/small/"/></a></p><p>The discussion concentrates on Hector Berlioz's second opera, Les Troyens, which is Berlioz's final large work written between 1855-1858. The study demonstrates how the opera is unified through its drama and music. Les Troyens, a five-act tragic opera that is based on Virgil's Aeneid, is perhaps one of Berlioz's least known major works. The orchestral score had not been published in its entirety until 1969, when a two-volume edition of the opera was published by Bärenreiter in the New Edition of the Complete Works of Hector BerIioz. The first complete recording of Les Troyens, conducted by Colin Davis, was released by Philips records in 1972. These two sources have made an analysis of this important work of the nineteenth century possible. The study includes a survey of the dramatic influences of Virgil and his Aeneid, and the poetry of Shakespeare, in addition to the musical influences of Gluck's operas, the compositions of Lesueur, the symphonies of Beethoven, Weber's opera, Der Freischütz, and the French grand opera style, which all contributed to the opera.</p>The Welsh Crwth, Its History, and Its Genealogy2016-01-14T20:34:50-06:00https://digital.library.unt.edu/ark:/67531/metadc798379/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc798379/"><img alt="The Welsh Crwth, Its History, and Its Genealogy" title="The Welsh Crwth, Its History, and Its Genealogy" src="https://digital.library.unt.edu/ark:/67531/metadc798379/small/"/></a></p><p>In the early years of the nineteenth century, when bowed string instruments were assumed to have reached the apex of their development, there arose among antiquarians and scholars a widespread interest in tracing the ancestry of the violin and related members of the chordophone family. This task proved to be exceedingly formidable not only because of the enormous amount of often obscure evidence which had to be taken into consideration but also because of the manner in which many items of evidence seemed to contradict each other. The issue is still not resolved to the complete satisfaction of every party concerned. Literally scores of different and often conflicting arguments have been advanced, and it could perhaps be justly said that the only furtherance thus far realized has been that of the confusion rather than the resolution of the issue.</p>Polyphonic Harmony in Three of Ferruccio Busoni’s Orchestral Elegies2015-12-20T09:30:05-06:00https://digital.library.unt.edu/ark:/67531/metadc794924/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc794924/"><img alt="Polyphonic Harmony in Three of Ferruccio Busoni’s Orchestral Elegies" title="Polyphonic Harmony in Three of Ferruccio Busoni’s Orchestral Elegies" src="https://digital.library.unt.edu/ark:/67531/metadc794924/small/"/></a></p><p>This dissertation focuses on three of Busoni’s late orchestral works known as “orchestral elegies”: Berceuse élégiaque (Elegie no. 1, 1909), Gesang vom Reigen der Geister (Elegie no. 4, 1915), and Sarabande (Elegie no. 5, 1918-19). The study seeks to provide a better understanding of Busoni’s late style as a crucial bridge from late nineteenth-century chromaticism in the works of Liszt, Wagner, and others to the post-tonal languages of the twentieth century. At the heart of this study lies a particular concept that forms the basis of many characteristic features of Busoni’s late style, namely the concept of polyphonic harmony, or harmony as a cumulative result of independent melodic lines. This concept is also related to a technique of orchestration in which the collective harmony is sounded in such a way that the individual voices are distinct. In the highly personal tonal language of Busoni’s late works, passages often consist of a web of motives weaved throughout the voices at the surface level of the music. Linear analysis provides a means of unravelling the dense fabric of voices and illustrating the underlying harmonic progressions, which most often consist of parallel, primarily semitonal, progressions of tertian sonorities. Chapter 1 provides a backdrop for this study, including a brief summary of Busoni’s ideas on the aesthetics of music and a summary of his influence and development as a composer. Chapter 2 addresses the concept of polyphonic harmony in more detail, some theoretical ideas related to it, and characteristics of Busoni’s late style that reflect this concept. Chapter 3 is dedicated to analytical methodology, addressing concepts which emerge from various linear approaches to the analysis of some twentieth-century music. Chapters 4, 5, and 6 are each dedicated to a specific work, the purpose being to illuminate through linear analysis compositional characteristics and techniques related to the concept of polyphonic harmony, including the flexibility between the melodic and harmonic realms, chord misalignment, overlap, and superposition.</p>Drama and Characterization in Opera Settings of "A Midsummer Nightʼs Dream" by Britten and Siegmeister2015-06-24T09:39:17-05:00https://digital.library.unt.edu/ark:/67531/metadc663718/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc663718/"><img alt="Drama and Characterization in Opera Settings of "A Midsummer Nightʼs Dream" by Britten and Siegmeister" title="Drama and Characterization in Opera Settings of "A Midsummer Nightʼs Dream" by Britten and Siegmeister" src="https://digital.library.unt.edu/ark:/67531/metadc663718/small/"/></a></p><p>Although Shakespeare deliberately downplays characterization in his moonlit dream fantasy, both Britten and Siegmeister exploit this dramatic element as the basis of their opera settings of the play. Through the operas, the shallow characters take on new dimensions, creating musical experiences existing quite independently of Shakespeare, while at the same time retaining the atmosphere of a dream-fantasy. Placing emphases upon varying aspects of the play, the two composers create entirely different revelations from the Bard's dream. This paper presents a study of the way in which drama and characterization are treated in the operas, A Midsummer Night's Dream and Night of the Moonspell.</p>A Translation of and Commentary on The Noble Art of Music, by Juan Miguel Urtasun de Yrarraga2015-06-24T09:39:17-05:00https://digital.library.unt.edu/ark:/67531/metadc663688/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc663688/"><img alt="A Translation of and Commentary on The Noble Art of Music, by Juan Miguel Urtasun de Yrarraga" title="A Translation of and Commentary on The Noble Art of Music, by Juan Miguel Urtasun de Yrarraga" src="https://digital.library.unt.edu/ark:/67531/metadc663688/small/"/></a></p><p>This study is a translation of and commentary on an eighteenth-century treatise written by Juan Miguel Urtasun de Yrarraga. Its purpose is to contribute to the field of knowledge of eighteenth-century Spanish materials, making an original work of that era accessible to the reader unfamiliar with the Spanish language.</p>'T Uitnemend Kabinet: Vol Pavanen, Almanden, Sarbanden, Couranten, Balletten, Intraden, Airs: Volume II2015-06-24T09:39:17-05:00https://digital.library.unt.edu/ark:/67531/metadc663410/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc663410/"><img alt="'T Uitnemend Kabinet: Vol Pavanen, Almanden, Sarbanden, Couranten, Balletten, Intraden, Airs: Volume II" title="'T Uitnemend Kabinet: Vol Pavanen, Almanden, Sarbanden, Couranten, Balletten, Intraden, Airs: Volume II" src="https://digital.library.unt.edu/ark:/67531/metadc663410/small/"/></a></p><p>'T Uitnemend Kabinet is a two-volume collection of two and three-part instrumental music from Germany, France, Italy, and Holland, published by Paulus Matthysz in Amsterdam (1646 and 1649). Volume I consists of 54 folios in the treble part book, and 19 in the bass part book; Volume II has 37 folios in the treble part book and 21 in the bass part book. he main part of this edition consists of a transcription of the 103 pieces of Volume II, which is accompanied with a brief commentary on the composers represented, the styles and forms of the music, and evidences of significant developments in early seventeenth-century instrumental music.</p>The Lady of the Lake: a Reconstructed Piano-Vocal Score, with Commentary on the Historical Background2015-06-24T09:39:17-05:00https://digital.library.unt.edu/ark:/67531/metadc663542/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc663542/"><img alt="The Lady of the Lake: a Reconstructed Piano-Vocal Score, with Commentary on the Historical Background" title="The Lady of the Lake: a Reconstructed Piano-Vocal Score, with Commentary on the Historical Background" src="https://digital.library.unt.edu/ark:/67531/metadc663542/small/"/></a></p><p>The document consists of a commentary on the historical background of the work and an edition of the restored score. The commentary treats its relationship to the ballad opera, sources and alternate settings of the music and libretto, a history of the development of "Hail to the Chief," biographical sketches of the primary composers, and a section on early productions in England and America. The commentary includes a history of the English and American premieres, lengths of the first-runs, and the names of the theatres in which the performances were mounted. The reconstructed score is a piano-vocal performance edition with dialogue, cues, scenery, costume and property plots indicated in detail.</p>Johann Anton Kobrich's Wohlgeübter Organist2015-06-24T09:39:17-05:00https://digital.library.unt.edu/ark:/67531/metadc663386/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc663386/"><img alt="Johann Anton Kobrich's Wohlgeübter Organist" title="Johann Anton Kobrich's Wohlgeübter Organist" src="https://digital.library.unt.edu/ark:/67531/metadc663386/small/"/></a></p><p>Johann Anton Kobrich (1714-1791) was the priest and organist of the parish church of Landsberg am Lech in upper Bavaria from 1730 until his death. A prolific composer, Kobrich wrote several works for organ, including the Wohlgeubter Organist (1762), a three-part collection of preludes, fugues, and toccatas. The major portion of this thesis consists of an edition of twenty-six selected pieces from the original fifty-eight in this collection. Also included are a bibliography of Kobrich, a discussion of his significance among other contemporary composers, and a survey of the organs and organ music of eighteenth-century southern Germany. In addition, there is an analysis of the Wohlgeubter Organist and a commentary on its significance.</p>Representative Nineteenth-Century Choral Symphonies2015-06-24T09:39:17-05:00https://digital.library.unt.edu/ark:/67531/metadc663476/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc663476/"><img alt="Representative Nineteenth-Century Choral Symphonies" title="Representative Nineteenth-Century Choral Symphonies" src="https://digital.library.unt.edu/ark:/67531/metadc663476/small/"/></a></p><p>This study is concerned with the examination of choral symphonies by major nineteenth-century composers. Its purpose is to delineate the common characteristics which these works have. Emphasis is given to the investigation of the choral elements in the symphonies. Detailed musicological studies of nineteenth-century music are minimal; there has. been a particular lack of interest in nineteenth-century works for chorus. Therefore, the principal sources of data for this study were the full scores of the following nine symphonies: Beethoven's Symphony No. 9, Berlioz' Romeo and Juliet and the Funeral and Triumphal Symphony, Mendelssohn's Lobgesang, Liszt's Faust Symphony and Dante Syrmphony, and Mahler's Symphonies Nos. 2., 3, and 8. Other important sources included major biographies of the composers of the symphonies listed. chapter is devoted to each of these composers, subdivided as follows: a general survey of the composer's other works for chorus and/or orchestra; the historical facts connected with the composition and first performance of the individual symphonies; analysis; and conclusions.</p>A Comparison of the Use of Music in the Holy Eucharist of the Roman Catholic Church and the Sabbath Morning Service of the Jewish Synagogue in the Middle Ages2015-06-24T09:39:17-05:00https://digital.library.unt.edu/ark:/67531/metadc663837/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc663837/"><img alt="A Comparison of the Use of Music in the Holy Eucharist of the Roman Catholic Church and the Sabbath Morning Service of the Jewish Synagogue in the Middle Ages" title="A Comparison of the Use of Music in the Holy Eucharist of the Roman Catholic Church and the Sabbath Morning Service of the Jewish Synagogue in the Middle Ages" src="https://digital.library.unt.edu/ark:/67531/metadc663837/small/"/></a></p><p>The problem with which this investigation is concerned is that of comparing the medieval musical traditions of two of the world's most influential religions. The similarities are discussed in two major categories: the comparison of liturgical texts and ritual, and the comparison of the music appearing in each ritual. This study has one main purpose. That purpose is to demonstrate how, through musical traditions, each religion has developed through the influence of the other. Samples of the liturgies from the musical portions of the services were obtained from prayer books and references dealing with those religions. Investigations of English translations from the Latin and Hebrew revealed a close identity between the two, not only in scriptural uses, but also in prayers and responses. Musical examples demonstrating similar elements in Hebrew and Christian worship were found in the extensive research of A. Z. Idelsohn and Eric Werner. Due to the dispersal of world Jewry, the best examples of Hebrew medieval music were obtained from the most isolated Jewish communities, such as those of Yemen, Musical similarities included modes, melodic formulas, and hymns and songs. This report concludes that the musical portions of the services of Christianity and Judaism in the Middle Ages were strikingly similar, and their subsequent musical development was strongly influenced by their coexistence.</p>The Prodromus Musicalis of Sébastian de Brossard2015-06-24T09:39:17-05:00https://digital.library.unt.edu/ark:/67531/metadc662999/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc662999/"><img alt="The Prodromus Musicalis of Sébastian de Brossard" title="The Prodromus Musicalis of Sébastian de Brossard" src="https://digital.library.unt.edu/ark:/67531/metadc662999/small/"/></a></p><p>Sebastien de Brossard (1655-1730) was a French priest, a zealous collector and historian, a musician of merit, and the author of one of the first dictionaries of musical terminology, the Dictionnaire de musigue of 1703. Largely self-taught in music, Brossard studied theology and philosophy at Caen. He was appointed curate at Strasbourg A in 1687 and maitre de musique in 1689. In 1698 he was made grand chapelain and mattre de musique at Meaux, where he remained until his death. His complete works and immense personal library are contained in the Bibliotheque Nationale in Paris. The first edition of Brossard's solo motets was published in 1695 under the title Elevations et motets a voix seule, avec la basse continue. The title Prodromus Musicalis was used for the second edition, published in 1702, and may be loosely translated "Musical Forerunner" or "Musical Prelude." The motets contain a vocal line with text and a figured bass. The present edition presents a faithful rendering of the figured bass and was prepared from a second edition copy contained in the North Texas State University Music Library. In order to enhance the performance and understanding of the eight motets, much of the prefatory material included in the first edition is translated, the formal and tonal structures are analyzed, and English versions of the texts are given. The many ornaments emplayed in the vocal line are categorized, and their execution is explained.</p>An Edition of Verse and Solo Anthems by William Boyce2015-06-24T09:39:17-05:00https://digital.library.unt.edu/ark:/67531/metadc663003/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc663003/"><img alt="An Edition of Verse and Solo Anthems by William Boyce" title="An Edition of Verse and Solo Anthems by William Boyce" src="https://digital.library.unt.edu/ark:/67531/metadc663003/small/"/></a></p><p>The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I.</p>Clavichord Traits in Selected Late Eighteenth-Century Keyboard Pieces2015-06-24T09:39:17-05:00https://digital.library.unt.edu/ark:/67531/metadc663059/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc663059/"><img alt="Clavichord Traits in Selected Late Eighteenth-Century Keyboard Pieces" title="Clavichord Traits in Selected Late Eighteenth-Century Keyboard Pieces" src="https://digital.library.unt.edu/ark:/67531/metadc663059/small/"/></a></p><p>Several late eighteenth-century keyboard composers indicated that some of their works were written specifically for the clavichord, as opposed to the harpsichord or pianoforte. This demand was indicated by a composer's commentary, remarks made by a contemporary, or by Bebung and Tragen der Tone indications in the music. The thesis examines selected works of C.P.E. Bach, Johann Eckard, Nathanael Gruner, Johann Hassler, Christian Neefe, F.S. Sander, and Daniel Tt*rk, and discusses elements of the music that seem particularly suited to clavichord performance. These elements are Bebung, Tragen der TOne, finely nuanced dynamic indications, certain types of melodic writing, and a thin textural composition.</p>Perspectives on the Musical Essays of Lorenz Christoph Mizler (1711-1778)2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc504093/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc504093/"><img alt="Perspectives on the Musical Essays of Lorenz Christoph Mizler (1711-1778)" title="Perspectives on the Musical Essays of Lorenz Christoph Mizler (1711-1778)" src="https://digital.library.unt.edu/ark:/67531/metadc504093/small/"/></a></p><p>This study provides commentary on Mizler's Dissertatio and Anfangs-Gründe des General Basses. Chapter V is an annotated guide to his Neu eröffnete musikalische Bibliothek, one of the earliest German music periodicals. Translations of Mizler's biography in Mattheson's Grundlage einer Ehrenpforte and selected passages of Mizler's Der musikalischer Staarstecher contribute a sampling of the critical polemics among Mizler, Mattheson, and Scheibe. As a proponent of the Aufklärung, Mizler was influenced by Leibnitz, Thomasius, and Wolff. Though his attempts to apply mechanistic principles to music were rejected during his time, his founding of a society of musical sciences, which included J. S. Bach, Telemann, Handel, and C. H. Graun as members, and his efforts to establish music as a scholarly discipline deserve recognition.</p>San Juan Ixcoi Mass: A Study of Liturgical Music in Northwestern Guatemala2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc504065/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc504065/"><img alt="San Juan Ixcoi Mass: A Study of Liturgical Music in Northwestern Guatemala" title="San Juan Ixcoi Mass: A Study of Liturgical Music in Northwestern Guatemala" src="https://digital.library.unt.edu/ark:/67531/metadc504065/small/"/></a></p><p>The San Juan Ixcoi Mass is part of the San Miguel Acatan Repertory which was found in the northwestern highlands of Guatemala before being purchased by the Lilly Library at Indiana University. Even though the authorship and date of the mass cannot be established, the mass is similar to works from the Josquin generation. Not discounting the few transcription difficulties as well as isolated compositional weaknesses, the San Juan Ixcoi Mass demonstrates the reasonably high quality of music that was performed and even possibly composed in northwestern Guatemala three centuries ago. A modern performance edition of the mass complete with critical notes and commentary on the transcription is included within the thesis.</p>"Santa Eulalia M. Md. 7": a Critical Edition and Study of Sacred Part Music from Colonial Northwestern Guatemala2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc503964/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc503964/"><img alt=""Santa Eulalia M. Md. 7": a Critical Edition and Study of Sacred Part Music from Colonial Northwestern Guatemala" title=""Santa Eulalia M. Md. 7": a Critical Edition and Study of Sacred Part Music from Colonial Northwestern Guatemala" src="https://digital.library.unt.edu/ark:/67531/metadc503964/small/"/></a></p><p>Santa Eulalia M. Md. 7, dated January 20, 1600, is part of the San Miguel Acatán Repertory, which originated in the northwestern highlands of Guatemala and is presently owned by the Lilly Library of Indiana University. The manuscript contains thirty-four four-part songs and dances, two thirds of which are villancicos for Christmas, Easter, the Eucharist, and the feasts of All Saints and St. Michael. The remaining third consists of Latin biblical texts in either fabordón or contrapuntal settings, three pieces with Náhuatl texts, and an instrumental pavana. The thesis contains a modern edition of Santa Eulalia M. Md. 7 with critical notes and commentary, a comparison of the pieces with villancicos and fabordones of European origin, and a survey of several aspects of Mayan culture.</p>Die Opernprobe by Albert Lortzing: a Critical Edition2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc503969/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc503969/"><img alt="Die Opernprobe by Albert Lortzing: a Critical Edition" title="Die Opernprobe by Albert Lortzing: a Critical Edition" src="https://digital.library.unt.edu/ark:/67531/metadc503969/small/"/></a></p><p>The purpose of the present edition of Albert Lortzing's Die Opernprobe is to restore and clarify the composer's original intentions, which were often obscured or altered by the first published version, which appeared in 1899. This thesis is divided into two parts. Part One contains an introduction which discusses Lortzing's place in the history of German opera, the details surrounding the composition of Die Opernprobe, the musical and dramatic structure of the opera, and the sources used in the preparation of this edition. Part Two consists of a critical edition of the orchestral score, with the complete text of the spoken dialogue and stage directions. Critical notes and an English translation of the full text are included in two appendixes.</p>The Famous Mr. Keach: Benjamin Keach and His Influence on Congregational Singing in Seventeenth Century England2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc503842/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc503842/"><img alt="The Famous Mr. Keach: Benjamin Keach and His Influence on Congregational Singing in Seventeenth Century England" title="The Famous Mr. Keach: Benjamin Keach and His Influence on Congregational Singing in Seventeenth Century England" src="https://digital.library.unt.edu/ark:/67531/metadc503842/small/"/></a></p><p>Benjamin Keach (1640-1704) was a seventeenth-century preacher and hymn writer. He is considered responsible for the introduction and continued use of hymns, as distinct from psalms and paraphrases, in the English Nonconformist churches in the late seventeenth century, and is remembered as the provider of a well-rounded body of hymns for congregational worship. This thesis reviews the historical climate of seventeenth-century England, and discusses Keach's life in terms of that background. Keach's influence on congregational hymn singing, hymn writers, preaching, and education is also examined. Keach's writings and contributions to hymn singing are little known today. This thesis points out the significance of these writings and hymns to seventeenth-century religious life.</p>The Chevalier de Saint-Georges: An Exponent of the Parisian Symphonie Concertant2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc503916/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc503916/"><img alt="The Chevalier de Saint-Georges: An Exponent of the Parisian Symphonie Concertant" title="The Chevalier de Saint-Georges: An Exponent of the Parisian Symphonie Concertant" src="https://digital.library.unt.edu/ark:/67531/metadc503916/small/"/></a></p><p>The symphonie concertante, a product of the late eighteenth-century Parisian concert societies, provided a vehicle for display of the virtuoso style sought by contemporary audiences. The works of the Chevalier Joseph Boulogne de Saint-Georges, one of its chief exponents, served as strong influences on the development of the form and its diffusion throughout Europe. The symphonies concertantes of Opus VI, No. 1 and Opus X, No. 2 (according to thematic numbering of Barry S. Brook) date from ca. 1775 and 1779 respectively. A complete set of parts for each is to be found in the private collection of M. Andre Meyer in Paris (Opus VI) and in the Universitetsbiblioteket at Lund (Opus X). The thesis contains background material on contemporary Parisian musical society and the life of Saint- Georges, and a modern scoring of the above symphonies concertantes with analysis and conclusions.</p>Critical Reaction to Serge Koussevitzky's Programming of Contemporary Music with the Boston Symphony Orchestra 1924-19292015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc503919/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc503919/"><img alt="Critical Reaction to Serge Koussevitzky's Programming of Contemporary Music with the Boston Symphony Orchestra 1924-1929" title="Critical Reaction to Serge Koussevitzky's Programming of Contemporary Music with the Boston Symphony Orchestra 1924-1929" src="https://digital.library.unt.edu/ark:/67531/metadc503919/small/"/></a></p><p>Serge Koussevitzky, conductor of the Boston Symphony Orchestra from 1924-1949, had, throughout his career, a reputation as a champion of modern music. The anticipation of his arrival in Boston in 1924 sparked a great deal of public debate about his reported modernism which the critics reflected and contributed to. This thesis analyzes the critical reaction, preserved in scrapbooks of newspaper clippings at Symphony Hall, Boston, to Koussevitzky's programming of contemporary music during his first five years with the BSO.</p>French Theories of Beauty and the Aesthetics of Music 1700 to 17502015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc504357/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc504357/"><img alt="French Theories of Beauty and the Aesthetics of Music 1700 to 1750" title="French Theories of Beauty and the Aesthetics of Music 1700 to 1750" src="https://digital.library.unt.edu/ark:/67531/metadc504357/small/"/></a></p><p>Studies of eighteenth-century French musical aesthetics have traditionally focused on questions of taste treated in the critical literature of the day. During the first half of the century, however, certain French writers were dealing with aesthetics in the stricter sense of the word, proposing theories of beauty that suited existing philosophical values. The treatises in which these ideas were set forth--Jean-Pierre de Crousaz' Traité du beau, Jean-Baptiste DuBos' Réflexions critiques sur la poësie et sur la peinture, Yves-Marie André's Essai sur le beau, and Charles Batteux' Les Beaux arts réduits à un même principe--are among the first learned writings to present the musical experience in something other than a mathematical or pedagogical light. This study investigates not only the role music played in these theories of beauty, but also the methodological problems inherent in translating this data into historical information.</p>The String Quartets of Franz Berwald2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc504618/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc504618/"><img alt="The String Quartets of Franz Berwald" title="The String Quartets of Franz Berwald" src="https://digital.library.unt.edu/ark:/67531/metadc504618/small/"/></a></p><p>This thesis is concerned with the historical context and evaluation of the string quartets of Franz Berwald. It will establish the environment within which Berwald composed these quartets, and show the results of his efforts. The material for this investigation was gathered from musical scores and literature about music. Chapter I gives an introduction to the thesis and a short biographical sketch of Berwald. Chapter II surveys the string quartet in the first half of the nineteenth century, citing the work of major composers. This chapter concludes with an examination of the influences on Berwald's musical styles. Chapter III surveys Berwald's musical output and describes the Quartet in G Minor. Chapter IV describes his last two quartets. The evaluations and conclusions are presented in Chapter V.</p>Busoni's Doktor Faust2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc504216/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc504216/"><img alt="Busoni's Doktor Faust" title="Busoni's Doktor Faust" src="https://digital.library.unt.edu/ark:/67531/metadc504216/small/"/></a></p><p>It is the intent of this thesis to shed a new investigative light upon a musician whose importance as a creative personality and aesthetician has been sorely underestimated or at least unappreciated by fellow musicians and audiences of his own and succeeding generations, a musician who formulated a new musical aesthetic which involved the utilization of compositional techniques diametrically opposed to those which had held dominant influence over the musical world for more than half a century, a musician who attempted to fuse the Italian sense of form and clarity with Teutonic profundity, complexity, and symbolism. This musician was Ferruccio Busoni. This thesis will concentrate on the history of the Faust legend and Busoni's final work, his opera Doktor Faust (c. 1924), the creative problems opera imposed upon Busoni, and his attempt to solve them vis-a-vis his own personal aesthetic.</p>Johann Friedrich Reichardt and His Liederspiel "Liebe und Treue"2015-05-10T06:16:59-05:00https://digital.library.unt.edu/ark:/67531/metadc504152/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc504152/"><img alt="Johann Friedrich Reichardt and His Liederspiel "Liebe und Treue"" title="Johann Friedrich Reichardt and His Liederspiel "Liebe und Treue"" src="https://digital.library.unt.edu/ark:/67531/metadc504152/small/"/></a></p><p>The purpose of this investigation is to examine Reichardt's reasons for his development of the genre Liederspiel. A brief biographical sketch of Reichardt reveals an innovative character who was responsible for several developments within the history of music. The Liederspiel was particularly affected by the French vaudeville. However, an investigation into the character of each shows that they are really quite different. A translation of an article by Reichardt from the Allgemeine Musikalische Zeitun discloses the purpose of the composer in his presentation of the Liederspiel to the public. The first Liederspiel was Liebe und Treue and was a complete success. The libretto and piano vocal score shows the construction of liebe und Treueand an English translation aids in its understanding.</p>Melodic Organization in Four Solos by Ornette Coleman2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc501207/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc501207/"><img alt="Melodic Organization in Four Solos by Ornette Coleman" title="Melodic Organization in Four Solos by Ornette Coleman" src="https://digital.library.unt.edu/ark:/67531/metadc501207/small/"/></a></p><p>The thesis presents annotated transcriptions and detailed analyses of four improvised solos by jazz saxophonist Ornette Coleman, a leading figure within the free jazz movement. The four solos, all of which were recorded in 1959, are: "Ramblin', " "Lonely Woman," "Congeniality," and "Free." -The focus of the analyses is upon Coleman's techniques for creating melodic continuity and development. Introductory chapters survey Coleman's career and examine his original theoretical system, "Harmolodics. " The thesis concludes with an annotated bibliography and discography.</p>The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume I2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc501123/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc501123/"><img alt="The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume I" title="The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume I" src="https://digital.library.unt.edu/ark:/67531/metadc501123/small/"/></a></p><p>The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.</p>Anton Bruckner's Treatment of the Credo Text in His Last Three Masses2015-03-09T08:15:06-05:00https://digital.library.unt.edu/ark:/67531/metadc500366/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc500366/"><img alt="Anton Bruckner's Treatment of the Credo Text in His Last Three Masses" title="Anton Bruckner's Treatment of the Credo Text in His Last Three Masses" src="https://digital.library.unt.edu/ark:/67531/metadc500366/small/"/></a></p><p>In order to investigate the stylistic transformation that occured before Bruckner abandoned the composition of Masses, this paper analyzes the Credo settings in his last three great Masses, with special attention to the treatment of the text. The relationship between the text and specific musical techniques is also considered. The trends found in these three works, especially in the last setting in F minor, confirm the assumption that Bruckner's Mass composition served as a transition to the composition of his symphonies.</p>