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[Bobby Shew Lecture, March 1, 1988: Parts 3 and 4]
Access: Use of this item is restricted to the UNT Community.
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/
I Can't Believe It's Not Borodin!: Documenting Performance Practice with Piano Rolls
The presentation discusses the value and importance of preserving piano rolls. digital.library.unt.edu/ark:/67531/metadc848619/
Cantates françoises à I. et II. voix: avec simphonie, et sans simphonie, V. 1-2
This item contains volumes 1 and 2 of Clérambault's "Cantates Françoises." The second volume bears the subtitle "Mellées de Simphonies." Volume 1 contains the cantatas "L'amour piqué," "Le jaloux," "Orphée," "Poliphême," "Medée," and "L'amour et Baccus." Volume 2 contains "Alphée et Arethuse," "Leandre et Hero," "La musette," "Pirame et Tisbé," "Pigmalion," and "Le triomphe de la paix." The continuo line is figured. digital.library.unt.edu/ark:/67531/metadc463638/
Cantates françoises a voix seule et basse-continue, avec et sans symphonies, Livre second
This item comprises two books of secular cantatas for soprano (indicated by the consistent use of the soprano clef in the vocal line), obbligato strings and winds, and (unrealized) basso continuo. The first book was printed in 1706; the second, in 1708. Since the two volumes were bound together, the later date is used for this item. The subtitle for the first volume indicates "a voix seule avec symphonies" while the subtitle for the second volume gives "a voix seule et basse-continue, avec et sans symphonies." digital.library.unt.edu/ark:/67531/metadc463622/
Le carnaval de Venise
This is a digital copy of "Le carnaval de Venise" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. This piece was dedicate to the operatic soprano Eugenie García (née Mayer; 1815-1880), who was the first wife of the famous Spanish baritone Manuel García. "Le carnaval de Venise" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39266/
Cataloging Sheet Music in the Church or Synagogue Library
This presentation provides an overview of the challenges faced in cataloging sheet music by both academic and congregational libraries. digital.library.unt.edu/ark:/67531/metadc826649/
Catone in Utica
This is a ca. 1763 copy of the libretto of "Catone in Utica," by Metastasio. Gian Francesco de Majo set this libretto to music for the 1763 carnival season in Turin. In this story, Caesar and Fulvio meet Cato, Utica's ruler, and offer him a peace truce, but Emilia, Pompey's widow, suspects treachery and plots to murder Caesar. Cato rejects a Senate's order for a reconciliation with Caesar and demands that Caesar surrender his dictatorial powers. Marzia, Cato's daughter, promised in marriage to Arbace, is in love with Caesar and pleas to her father to deter him from waging war. Arbace, who feels that his love for Marcia was betrayed, is lured by Emilia into an assassination attempt on Caesar. Fulvio is led to believe that Emilia will attempt on Caesar's life as he leaves by the gate of the city and advises him to take a secret path only to discover that Emilia used him to deliver Caesar into the hands of her followers. As Fulvio announces the victory of Caesar's armies in Utica, Cato stabs himself and before dying grants forgiveness to Marcia on condition that she swear loyalty to Arbaces and hatred towards Caesar. The library's copy of "Catone in Utica" is bound with the following librettos: "Ifigenia in Aulide", by Vittorio Amedeo Cigna-Santi; "Sofonisba" by Mattia Verazi; "Arianne e Teseo" by Pietro Pariati; and "Le piacevoli poesie" by Gasparo Gozzi. digital.library.unt.edu/ark:/67531/metadc39294/
Cendrillon
Libretto of the 1759 pastiche-style comic opera "Cendrillon," by Louis Anseaume. The songs were contributed by the singer-composer Jean-Louis Laruette and Egidio Duni, which they likely adapted from fashionable tunes. "Cendrillon" (Cinderella in English) premiered in Paris at Foire St-Germain on February 21, 1759. The opera underwent two revisions before the definitive version of 1764. Anseaume adapted the plot the fairy tale by Charles Perrault. This copy includes (from pp.54-63) notated melodies of airs and recitatives. digital.library.unt.edu/ark:/67531/metadc39252/
Chamber Music Studies Concert Session II
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An ensemble recital by The Center for Chamber Music Studies performed at the UNT College of Music Recital Hall. digital.library.unt.edu/ark:/67531/metadc802177/
[Charli Persip Lecture, March 27, 1990]
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Recording of a Jazz Lecture Series presentation by Charli Persip on March 27, 1990 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Charlie Persip, drum set, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc13003/
Chicago Theater of the Air: Yma Sumac
A recording found in Willis Conover's collection of reel-to-reel tapes: Yma Sumac performs at the 22nd annual Chicagoland Music Festival, at Soldier Field. digital.library.unt.edu/ark:/67531/metadc800484/
Chord Studies for Piano, Book 1
Six chord studies for piano in C major, G major, F major, A minor, E minor, and D major. digital.library.unt.edu/ark:/67531/metadc673946/
Chord Studies for Piano, Book 2
Six chord studies for piano in D minor, B-flat major, B minor, A minor, E-flat major, and A major. digital.library.unt.edu/ark:/67531/metadc673926/
Chord Studies for Piano, Book 3
Six chord studies for piano in C minor, F-sharp minor, A-flat major, F minor, E major, and C-sharp minor digital.library.unt.edu/ark:/67531/metadc673923/
[Chuck Wayne Lecture, March 3, 1990]
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Recording of a Jazz Lecture Series presentation by Chuck Wayne on March 6, 1990 at 9:30AM at the UNT College of Music. It includes a lecture and performance interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc13000/
[Clark Terry Lecture, April 20, 1982: Part 1]
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Recording of a Jazz Lecture Series presentation by Clark Terry on April 20, 1982 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Clark Terry, trumpet, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12862/
[Clark Terry Lecture, April 20, 1982: Part 2]
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Recording of a Jazz Lecture Series presentation by Clark Terry on April 20, 1982 at 12:30PM at the UNT College of Music. It includes a lecture and performance by Clark Terry, trumpet, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc12863/
La clé du caveau: à l'usage de tous les chansonniers française, des amateurs, auteurs, acteurs du vaudeville, et de tous les amis de la chanson
Extensive collection of French poetry and songs. digital.library.unt.edu/ark:/67531/metadc848761/
[Clifford Jordan Lecture, April 10, 1990: Part 3]
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Jazz Lecture Series presentation by Clifford Jordan on April 10, 1990 at 9:30AM at the UNT College of Music. It includes a lecture and performance by Clifford Jordan, tenor saxophone, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc13004/
[Clifford Jordan Lecture, April 10, 1990: Parts 1 and 2]
Access: Use of this item is restricted to the UNT Community.
Jazz Lecture Series presentation by Clifford Jordan on April 10, 1990 at 2:00PM at the UNT College of Music. It includes a lecture and performance by Clifford Jordan, tenor saxophone, interspersed with questions from the audience. digital.library.unt.edu/ark:/67531/metadc13005/
[Clipping: Article by Alice Hughes about Don Gillis]
Newspaper clipping digital.library.unt.edu/ark:/67531/metadc86070/
[Clipping: Don Gillis in Vision magazine]
Magazine clipping consisting of title from cover, and an article from that issue describing Gillis' approach to music composition. digital.library.unt.edu/ark:/67531/metadc86068/
[Clipping: "Don Gillis Is Going to Be A Well-Whistled Composer"]
Newspaper clipping digital.library.unt.edu/ark:/67531/metadc86069/
Colinette à la cour ou La double épreuve : comédie lyrique en trois actes
A comparison of the scores for Colinette à la cour and Barbe-bleue illustrates the primary distinguishing factor between the genres of comédie lyrique and opera comique: the method of dialogue delivery. In Paris, the issue of genre was tied to the performance venue of a particular opera, due to government regulations. Although comic opera was traditionally presented with spoken dialogue, as in opera comique, when Grétry composed for the Opéra, where recitative was expected, he merged comic subject matter with the sung dialogue heard in serious opera. digital.library.unt.edu/ark:/67531/metadc18/
Collaborative Piano Related Field Recital: 2014-04-13 - Szu-Ying Huang, piano
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A collaborative piano related field recital presented at the UNT College of Music Recital Hall. digital.library.unt.edu/ark:/67531/metadc802142/
[Collage of Stan Kenton and Orchestra]
This is a collage of Stan Kenton Orchestra members whose names are listed on the back of the photograph. digital.library.unt.edu/ark:/67531/metadc11260/
[Collection of Eleven Operas: Le triomphe de l'amour; Coronis: pastorale heroïque; Isis: tragedie en musique; Amadis: tragedie en musique; Phaeton: tragedie en musique; Proserpine: tragedie en musique; Zephire et Flore: opera; Thetis et Pelée: tragedie en musique; Enée et Lavinie: tragedie en musique; Astrée: tragedie; Roland: tragedie en musique]
This book contains a collection of librettos for ballets, tragedies and opera staged for Louis XIV from ca. 1680-1691. The works reflect the collaboration of Jean-Baptiste Lully and dance masters and librettists in the court of Louis XIV. The following French dramatic works are included in the collection: Le triomphe de l'amour; Coronis; Isis; Amadis; Phaeton; Proserpine; Zephire et Flore; Thetis et Pelée; Enée et Lavinie; Astrée; and Roland. digital.library.unt.edu/ark:/67531/metadc11804/
College of Music program book 1988-1989 Vol. 1
Fall/Spring performances program book from the 1988-1989 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc812/
College of Music program book 1989-1990 Vol. 1
Fall/Spring performances program book from the 1989-1990 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc811/
College of Music program book 1989-1990 Vol. 2
Fall/Spring performances program book from the 1989-1990 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc810/
College of Music program book 1990-1991 Vol. 1
Fall/Spring performances program book from the 1990-1991 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc809/
College of Music program book 1990-1991 Vol. 2
Fall/Spring performances program book from the 1990-1991 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc808/
College of Music program book 1991-1992 Fall/Spring Performances Vol. 1
Fall/Spring performances program book from the 1991-1992 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc807/
College of Music program book 1991-1992 Student Performances Vol. 2
Student performances program book from the 1991-1992 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc806/
College of Music program book 1992-1993 Fall/Spring Performances Vol. 1
Fall/Spring performances program book from the 1992-1993 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc805/
College of Music program book 1992-1993 Student Performances Vol. 2
Student performances program book from the 1992-1993 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc804/
College of Music program book 1993-1994 Fall/Spring Performances
Fall/Spring performances program book from the 1993-1994 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc1035/
College of Music program book 1993-1994 Student Performances
Student performances program book from the 1993-1994 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc1034/
College of Music program book 1994-1995 Fall/Spring Performances Vol. 1
Fall/Spring performances program book from the 1994-1995 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc791/
College of Music program book 1994-1995 Student Performances Vol. 2
Student performances program book from the 1994-1995 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc763/
College of Music program book 1995-1996 Fall/Spring Performances Vol. 1
Performances program book from the 1995-1996 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc730/
College of Music program book 1995-1996 Student Performances Vol. 2
Student performances program book from the 1995-1996 school year at the University of North Texas College of Music. digital.library.unt.edu/ark:/67531/metadc729/