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  Partner: UNT Music Library
Artist Certificate Recital: 2012-11-27 - Ilia de la Rosa, cello
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Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc171848/
Artist Certificate Recital: 2013-01-22 - Sera Jung, viola
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Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc172077/
Artist Certificate Recital: 2013-03-03 - Daniel Nix, double bass
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Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc172127/
Artist Certificate Recital: 2013-03-23 - Uri Nahir, flute
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Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc172154/
Artist Certificate Recital: 2013-03-28 - Elizabeth Trower, viola
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Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc172173/
Artist Certificate Recital: 2013-03-30 - Hanna Youn, Piano
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Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc172183/
Artist Certificate Recital: 2013-04-25 - Andreas Ioannides, piano
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Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc172275/
Artist Recital: 2012-03-31 - Hanna Youn, soprano
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Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc173962/
Artist Recital: 2012-04-01 - Andreas Ioannides, piano
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Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc173964/
Artist Recital: 2012-04-04 - Chao Wang-flute
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Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc173972/
Artist Recital: 2012-04-09 - Sera Jung, viola
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Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc173981/
Artist Recital: 2013-01-28 - Reuben Allred, piano
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Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Graduate Artist Certificate in Music Performance. digital.library.unt.edu/ark:/67531/metadc172080/
Astrée
Libretto of the 1691 opera "Astrée" by Jean de la Fontaine. Pascal Collasse composed the music of the opera which premiered under the title "Astrée et Céladon" on November 25, 1692. digital.library.unt.edu/ark:/67531/metadc39251/
Atys : tragedie
Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to conclude with a tragic ending. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is placed more highly than honor, it will bring unhappiness even to one of the immortals. digital.library.unt.edu/ark:/67531/metadc54/
Atys : tragédie lyrique en trois actes
The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide. digital.library.unt.edu/ark:/67531/metadc31/
Atys : tragédie lyrique en trois actes
The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide. digital.library.unt.edu/ark:/67531/metadc30/
Atys : tragedie mise en musique
Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to have a tragic ending. As the Prologue indicates, the tragedie itself is a divertissement to ease the king's mind of his impending duties. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: "In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is place more highly than honor, it will bring unhappiness even to one of the immortals." digital.library.unt.edu/ark:/67531/metadc57/
Atys; tragedie mise en musique
Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to have a tragic ending. As the Prologue indicates, the tragedie itself is a divertissement to ease the king's mind of his impending duties. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: "In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is place more highly than honor, it will bring unhappiness even to one of the immortals." digital.library.unt.edu/ark:/67531/metadc55/
Aura Rully with Duke Ellington at the 1972 Newport Jazz Festival
Aura Rully (Urziceanu) performs with Duke Ellington at the 1972 Newport Jazz Festival. digital.library.unt.edu/ark:/67531/metadc847485/
Bajazeth
Musical score containing the piano part for "Bajazeth: air national [sic] des turques pour le piano forte" by Leopold von Meyer. digital.library.unt.edu/ark:/67531/metadc39265/
Ballet du Temple de la paix
The elements that make up the Jean-Baptiste Lully's Ballet du Temple de la Paix have some parallels to the plot of Roland, which premiered in the same year. Both celebrate the expanding influence of France and Louis XIV through the introduction of exotic characters. The flexibility of the ballet de cour format, which was more a progression of loosely related scenes and spectacles than an organized plot, allowed librettist Philippe Quinault more freedom in his elaboration of that theme. digital.library.unt.edu/ark:/67531/metadc69/
[Band Performing on Stage]
Photograph of the North Texas State College Laboratory Dance Band performing on stage. They are wearing shirts and ties. From left to right are: a man playing a tuba; a man with his back to the camera playing a piano with its strings exposed; a clarinetist; a banjo player; and trumpeter; a trombonist; and a partially obscured drummer. Handwritten text beneath the photo says "Group simulating old style dixieland - opening number for concert in 1954-" digital.library.unt.edu/ark:/67531/metadc181706/
Barbe bleue : comédie en prose et en trois actes
Although the story of Bluebeard was familiar to French readers from Charles Perrault’s 1698 collection of children’s tales, transferring it to the operatic stage was problematic due in large part to the gruesome nature of the plot. Other violent works had appeared in Paris, but in this instance, the drama was to be performed at the Comédie-Italienne, which typically featured lighter plots than that of Raoul and Isaure. Nevertheless, the opera had a successful run, receiving over a hundred performances in the decade after its premiere. After its initial popularity, Raoul Bluebeard was staged less frequently, but it still made an impression on nineteenth-century composers, particularly Weber. digital.library.unt.edu/ark:/67531/metadc17/
Barbier de Seville [Il barbiere di Siviglia] Opéra comique en quatre actes
No Description digital.library.unt.edu/ark:/67531/metadc26/
Beggar's opera
This is a 1735 fourth ed. of the three-act ballad opera "The beggar's opera" by John Christopher Pepusch and John Gay. It includes the score for the overture (for violins (2), viola, and bass ensemble) and the melodies of each song. The inscription, "Nos haec novimus esse nihil" (transl. as, We know these to be nothing) that appears on the t.p. is an epigram by Marcus Valerius Martialis from his Books of Epigrams. On the back of the t.p. appears the advertisement of these works printed by John Watts: Fifty one new fables in verse; The tunes to the songs in the Beggar's Opera, transposed for the flute; and Gay's opera "Achilles." A table of songs shows the first lines of text for each act. The item includes a list of characters. digital.library.unt.edu/ark:/67531/metadc25946/
Bellérophon; tragedie mise en musique
Although not the first of the Jean-Baptiste Lully's tragédies lyriques, Bellérophon was the first of Lully's opera scores to appear in print. The Ballard first edition was printed in 1679 to accompany the premiere, on January 31 of that year, at the Palais Royale. Bellérophon was the second of two operas (the first was Psyché) created by Lully without librettist Philippe Quinault after the scandal associated with Isis that led to Quinault's temporary dismissal as royal librettist. After an extended illness during which he did not compose, Lully collaborated with Thomas Corneille and Bernard le Bovier de Fontenelle for the second time to create one of his most unqualified successes. Following the first performance in January 1679, Bellérophon played for nine months at the Palais Royale. digital.library.unt.edu/ark:/67531/metadc58/
Belshazzar : a sacred Oratorio in Score
A sacred oratorio in three acts for soloists and mixed chorus (SATB) with orchestra acc. (2 oboes, 2 violins, viola, and basso continuo). A contents index is given on p. 219. According to the Grove Dictionary of Music and Musicians, Handel composed this oratorio from 23 August - 23 October 1744. Charles Jennens wrote the libretto on the Biblical story of the downfall of the King of Babylon with details taken from "Cyropaedia" (a political romance about the education of an ideal ruler) by Herodotus and Xenophon's. digital.library.unt.edu/ark:/67531/metadc11078/
[Beverly Watson at Perrin Field Air Force Base]
Photograph of Beverly Watson and the North Texas State College Laboratory Dance Band performing on stage at Perrin Air Force Base in Texas. She is wearing a white blouse and dark skirt and is singing into a microphone while musicians are playing a guitar and saxophone behind her. Handwritten text beneath the photo says "Beverly Watson - Perrin Field Air Base 1-12-53." digital.library.unt.edu/ark:/67531/metadc181732/
Bill Evans at the Village Vanguard
Bill Evans with Chuck Israels on bass, and Larry Bunker on drums at the Village Vanguard. The reel-to-reel tape container indicates that titles performed include "Slow Dance" and "A Song for Now." digital.library.unt.edu/ark:/67531/metadc701832/
Bill Taylor Lecture, March 12, 1985: Parts 1 and 2
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Jazz Lecture Series presentation by Bill Taylor on March 12, 1985 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Billy Taylor, piano, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12914/
Bill Taylor Lecture, March 12, 1985: Parts 1 and 2
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Jazz Lecture Series presentation by Bill Taylor on March 12, 1985 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Billy Taylor, piano, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12915/
Bill Watrous Lecture, February 19, 1985: Part 1
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Jazz Lecture Series presentation by Bill Watrous on February 19, 1985 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Bill Watrous, trombone, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12908/
Bill Watrous Lecture, February 19, 1985: Parts 2 and 3
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Jazz Lecture Series presentation by Bill Watrous on February 19, 1985 at 2:00PM at the UNT College of Music. It includes a lecture and performance by Bill Watrous, trombone, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12909/
Biography in Rhythm
A 1955 radio program presenting an account of the history of jazz. Willis Conover later adapted this program's introduction for use in the Jazz at the Smithsonian television programs which he hosted. digital.library.unt.edu/ark:/67531/metadc772510/
[Bob Berg Lecture, March 4, 1986: Part 1]
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Jazz Lecture Series presentation by Bob Berg on March 4, 1986 at 9:30AM at the UNT College of Music. Includes lecture and performance by Bob Berg, saxophone, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12930/
[Bob Berg Lecture, March 4, 1986: Parts 2 and 3]
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Jazz Lecture Series presentation by Bob Berg on March 4, 1986 at 2:00PM at the UNT College of Music. Includes lecture and performance by Bob Berg, saxophone, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12931/
[Bob Brookmeyer Lecture, March 2, 1982: Parts 1 and 2]
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Jazz Lecture Series presentation by Bob Brookmeyer on March 2, 1982 at 9:30AM at the UNT College of Music. The lecture is interspersed with examples, questions and answers. digital.library.unt.edu/ark:/67531/metadc12851/
[Bob Brookmeyer Lecture, March 3, 1982: Parts 1 and 2]
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Jazz Lecture Series presentation by Bob Brookmeyer on March 2, 1982, 12:30PM at the UNT College of Music. The lecture is interspersed with examples, questions and answers. digital.library.unt.edu/ark:/67531/metadc12853/
[Bobbi Humphrey Lecture, March 29, 1983: Part 1]
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Jazz Lecture Series presentation by Bobbi Humphrey on March 3, 1983 at 9:30AM at the UNT College of Music. Includes lecture and performance by Bobbi Humphrey, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12878/
[Bobbi Humphrey Lecture, March 29, 1983: Part 2]
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Jazz Lecture Series presentation by Bobbi Humphrey on March 3, 1983 at 2:00PM at the UNT College of Music. Includes lecture and performance by Bobbi Humphrey, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12879/
[Bobby Shew Lecture, March 1, 1988: Parts 1 and 2]
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Jazz Lecture Series presentation by Bobby Shew on March 1, 1988 at 9:30AM at the UNT College of Music. Includes lecture and performance by Bobby Shew, trumpet, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12964/
[Bobby Shew Lecture, March 1, 1988: Parts 3 and 4]
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Jazz Lecture Series presentation by Bobby Shew on March 1, 1988 at 2:00PM at the UNT College of Music. Includes lecture and performance by Bobby Shew, trumpet, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12965/
[Buddy De Franco Lecture, April 21, 1987: Part 1]
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Jazz Lecture Series presentation by Buddy De Franco on April 21, 1987 at 9:30AM at the UNT College of Music. Includes lecture and performance by Buddy DeFranco, clarinet, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12957/
[Buddy De Franco Lecture, April 21, 1987: Part 2]
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Jazz Lecture Series presentation by Buddy De Franco on April 21, 1987 at 2:00PM at the UNT College of Music. Includes lecture and performance by Buddy DeFranco, clarinet, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12958/
[Buddy DeFranco on Stage]
Photographs of Buddy DeFranco performing with the Laboratory Dance Band. The top photograph features DeFranco standing and playing a clarinet to the right side. To the left, the suited men of the band sit behind music stands. The bottom photo features DeFranco standing in front of a microphone while holding a clarinet in his right hand. Three rows of the Laboratory Dance Band are seated behind him holding their instruments. Handwritten text beneath the images says "Buddy DeFranco - Guest Soloist - 1959" digital.library.unt.edu/ark:/67531/metadc181775/
Buona figliuola : opera comica
Goldoni turned to Samuel Richardson’s novel Pamela, or Virtue Rewarded (1740) as the inspiration for his La buona figliuola. In 1750, he wrote the play Pamela nubile and then turned it into a libretto for Duni. Although Duni’s La buona figliuola (1756) was a failure, Piccinni’s setting in 1760 was a huge success. The hilarious comedy coupled with Piccinni’s sentimental treatment of Cecchina contributed to the popularity of the opera, which still receives performances to this day. Typical of opera buffe, La buona figliuola features chain-like finales that propel the plot and characters to the end of the act (at that time, sectional finales were new to Rome). Other features of his music that receive praise are the beautiful, Italianate melodies, energetic accompaniments, and the variety of musical treatment throughout the opera. digital.library.unt.edu/ark:/67531/metadc32/
[Burt Korall Lecture, February 12, 1985: Part 1]
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Recording of a Jazz Lecture Series presentation by Burt Korall on February 12, 1985 at 9:30AM at the UNT College of Music. Includes lectures by Burt Korall. digital.library.unt.edu/ark:/67531/metadc12904/
[Burt Korall Lecture, February 12, 1985: Part 2]
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Recording of a Jazz Lecture Series presentation by Burt Korall on February 12, 1985 at 2:00PM at the UNT College of Music. Includes lectures by Burt Korall. digital.library.unt.edu/ark:/67531/metadc12907/
Le cadi dupé
This is a 1766 copy of the libretto of the one-act comic opera "Le cadi dupé" (The duped judge), by Pierre René Lemonnier to music by Pierre-Alexandre Monsigny. The first performance of the opera took place at the Paris Foire St-Germain on 4 February 1761. Christoph Willibald Gluck's music replaced that of Monsigny's for the 8 December 1761 performance at the Burgtheater in Vienna. digital.library.unt.edu/ark:/67531/metadc39292/
Le cadi dupé, opéra bouffon en un acte, representé sur le Théatre de l'opera comique
The figured bass is unrealized in the full score of this one-act comic opera. Sung French text is underlaid; spoken text is printed before and after each song. digital.library.unt.edu/ark:/67531/metadc463621/