Transcription of Baroque Works for Classical Guitar: J S Bach's Sonata in D Minor (Bwv 964) As Model

Transcription of Baroque Works for Classical Guitar: J S Bach's Sonata in D Minor (Bwv 964) As Model

Date: May 2013
Creator: Lang, Matthias
Description: Continuing the common practice of composers of the Baroque period to transcribe their own or other composers' works for a different instrument, this dissertation contributes to studies of J. S. Bach's repertory as the source of program material for the classical guitar. It is from differences revealed through a comparative analysis of Bach's Violin Sonata No. 2 (BWV 1003) and his harpsichord arrangement thereof – Sonata in D minor (BWV 964) – that principles of transcription are derived and organized according to descriptive categories. Emulating the composer-transcriber with knowledge of the capabilities and limitations of the instruments involved, the arrangement procedures are applied to the classical guitar. In so doing, this study addresses the emerging challenges and complexities in creating an idiomatic arrangement.
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Jules Massenet's Musical Prosody Focusing on His Eight Song Cycles And A Collection, Expressions Lyriques: A Lecture Recital, Together with Recitals of Selected Works of W. A. Mozart, F. Schubert, C. Debussy, R. Strauss, D. Argento, V. Bellini, J. Marx, W. Walton, C. Gounod, A. Scarlatti, G. Fauré, J. Rodrigo, H. Wolf, and Others

Jules Massenet's Musical Prosody Focusing on His Eight Song Cycles And A Collection, Expressions Lyriques: A Lecture Recital, Together with Recitals of Selected Works of W. A. Mozart, F. Schubert, C. Debussy, R. Strauss, D. Argento, V. Bellini, J. Marx, W. Walton, C. Gounod, A. Scarlatti, G. Fauré, J. Rodrigo, H. Wolf, and Others

Date: December 2000
Creator: Chae, Eunhee
Description: Jules Massenet's mélodies feature a distinct vocal treatment regarding musical prosody through his eight song cycles, including Poëme d'Avril, Poëme Pastoral, Poëme du Souvenir, Poëme d'Amour, Poëme d'Hiver, Poëme d'un Soir, and Quelques Chansons Mauves, and a collection, Expressions Lyriques. These mélodies show the influence of the trend of salon music and the high-level poetry from the poetic movements of romanticism, Parnassianism, and symbolism. This study deals with Massenet's mélodies relating to the prosody idea, which is conspicuous in his vocal treatment. His melodic styles feature four distinct aspects of vocal treatment including lyrical, recitative or parlando, melodramatic, and déclamation rhythmée, and represent the idea of musical prosody of phonetic, syntactic, and semantic aspects. Massenet's other musical idioms such as harmony, form, and piano treatment, are also closely related to the prosody matter as a semantic aspect, reinforcing the poetic mood and content. In this study, each melodic style related to French versification is examined in detail. The musical analysis regarding the other musical idioms on selected examples presents the semantic feature of prosody idea. The brief review of French versification and opinions regarding the performance are included. Massenet's contribution to the genre of mélodie, with the prose melody and ...
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A Transcription of Op. 94 Morceau de Concert, by Camille Saint-Saëns For Solo Bass Trombone and Brass Ensemble

A Transcription of Op. 94 Morceau de Concert, by Camille Saint-Saëns For Solo Bass Trombone and Brass Ensemble

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Date: May 2001
Creator: Woods, Christopher P.
Description: The transcription is an addition to the repertoire for brass ensemble and bass trombone. Consideration is given to the nineteenth-century orchestration treatises of Berlioz and Strauss as well as the twentieth-century texts of Erik Leidzén, Walter Piston, and Samuel Adler. The transcription process is shaped by the principles of these writers. The score is contained in the appendix.
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A theoretical analysis of selected solo repertoire for saxophone by Paul Bonneau.

A theoretical analysis of selected solo repertoire for saxophone by Paul Bonneau.

Date: August 2002
Creator: Johnson, Keith T.
Description: The primary purpose of this dissertation is to provide greater insight into the compositional design of Paul Bonneau's Caprice en forme de valse solo pour saxophone and the Piece Concertante Dans L'Esprit "Jazz" pour saxophone alto et piano through a detailed analysis of the pieces. Paul Bonneau's Caprice en forme de valse is a major work for saxophone. It has been referred to as one of the most technically demanding works in the classical saxophone repertoire. In addition, the Caprice has been transcribed for the flute, clarinet and bassoon. In fact, the Caprice has been designated as "one of the most musically cohesive unaccompanied works written for any wind instrument." Bonneau's Piece Concertante Dans L'Esprit "Jazz" is also an important work in the repertoire due to its high degree of virtuosity and unique fusion of traditional classical and jazz elements. The analysis process focuses initially on the fundamental elements of music. Each analysis begins with an outline and description of the formal design of the piece. Major sections and their various subdivisions are detailed specifically. The tonal organization of the piece is presented. Large scale tonal areas are identified along with detailed discussions pertaining to specific harmonic structures. Due to ...
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The Career and Legacy of Hornist Joseph Eger: His Solo Career, Recordings, and Arrangements

The Career and Legacy of Hornist Joseph Eger: His Solo Career, Recordings, and Arrangements

Date: May 2008
Creator: Pritchett, Kathleen S.
Description: This study documents the career of Joseph Eger (b. 1920), who had a short but remarkable playing career in the 1940s, 1950s and early 1960s. Eger toured the United States and Britain as a soloist with his own group, even trading tours with the legendary British hornist, Dennis Brain. He recorded a brilliant solo album, transcribed or arranged several solos for horn, and premiered compositions now standard in the horn repertoire. He served as Principal Horn of the New York Philharmonic, Los Angeles Philharmonic, and the National Symphony. Despite his illustrious career as a hornist, many horn players today do not recognize his name. While Eger was a renowned horn soloist in the middle of the twentieth century, he all but disappeared as a hornist, refocused his career, and reemerged as a conductor, social activist, and author. This dissertation seeks to be the long-overdue comprehensive documentation of Eger's career as the first American horn soloist and his contributions to the world of horn playing. First, a biography of Eger is presented, focusing especially on his education and career as an orchestral player, soloist, and recording artist, including its intersections with the lives of many prominent musicians and personalities of the ...
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The Concept Of “Unity” In Isang Yun’s Königliches Thema Fr Violine Solo

The Concept Of “Unity” In Isang Yun’s Königliches Thema Fr Violine Solo

Date: December 2011
Creator: Kim, Songyoung
Description: A Korean-German composer Isang Yun.s life was evenly distributed between two different countries, and his music contains both elements of performance practices of Eastern Asian and Western music. This dissertation presents his ethnic and aesthetic musical roots by an analytic examination of his solo violin piece, K♠nigliches Thema (1976). The dissertation is divided into four chapters. The first chapter contains Isang Yuns biography and his works of the four periods. The second chapter studies his philosophy in music and compositional techniques such as twelve-tone technique, Taoism, Hauptton, Hauptklang and the Korean instrumental technique in Western instruments. The third chapter presents a detailed analysis of Knigliches Thema with his Taoist philosophy. The fourth chapter is solely dedicated to the performance perspectives of Königliches Thema in tempo, dynamic and various violin techniques.
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Fugal And Canonic Techniques In Selected Large Chorale Preludes Of Clavierübung III By J.S. Bach

Fugal And Canonic Techniques In Selected Large Chorale Preludes Of Clavierübung III By J.S. Bach

Date: December 2011
Creator: Kwon, Wonjung
Description: Numerous scholars have studied the Clavierübung III, but their studies mainly focused on the relationship between the chorale text and Bach♠s response in music. Analysis without explaining J.S. Bachs word painting in other chorale preludes can be found easily, but most analyses treat rhetoric, especially those dealing with Clavierübung III. There have been numerous studies linking Bach's organ works to Lutheran doctrine. However, to give a better understanding of the work's structure and its implications for performance, a contrapuntal analysis is indispensable. This study deals with an analysis focused on canonic and fugal techniques in selected large chorales, and it will provide a better understanding of Clavierbung III. For purposes of comparison with typical fugal techniques, the C minor fugue from the Well-Tempered Clavier I, BWV 847, is taken as a model. This work reveals typical eighteenth-century, late Baroque fugal structure with a well-defined subject. The episode modulates through the keys of Eb major-G minor and C minor. Below is an outline of the present paper. Chapter I discusses the purpose of this study. Chapter II covers the earlier research on Clavierübung III and includes a discussion of the general background of the Clavierübung III. Chapter III provides a contrapuntal ...
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A Scientific Characterization of Trumpet Mouthpiece Forces in the Context of Pedagogical Brass Literature

A Scientific Characterization of Trumpet Mouthpiece Forces in the Context of Pedagogical Brass Literature

Date: December 2007
Creator: Ford, James
Description: Embouchure dysfunctions, including those from acute injury to the obicularis oris muscle, represent potential and serious occupational health problems for trumpeters. Forces generated between the mouthpiece and lips, generally a result of how a trumpeter plays, are believed to be the origin for such problems. In response to insights gained from new technologies that are currently being used to measure mouthpiece forces, belief systems and teaching methodologies may need to change in order to resolve possible conflicting terminology, pedagogical instructions, and performance advice. As a basis for such change, the purpose of this study was to investigate, develop and propose an operational definition of mouthpiece forces applicable to trumpet pedagogy. The methodology for this study included an analysis of writings by selected brass pedagogues regarding mouthpiece force. Finding were extracted, compared, and contrasted with scientifically derived mouthpiece force concepts developed from scientific studies including one done at the UNT Texas Center for Music & Medicine. Results characterized five mouthpiece force principles as the basis for an operational definition of mouthpiece force. This definition recognizes the relationships between average mouthpiece force and mouthpiece force variability. Mouthpiece force principles as presented in this study may contribute to a better understanding of mouthpiece ...
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Five Seasons: A composition for flutist and percussionist

Five Seasons: A composition for flutist and percussionist

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Date: August 2001
Creator: Kim, Chol-Ho
Description: Five Seasons is a musical work for flute and percussion. The flutist alternately performs on the C flute with a B foot, alto flute, piccolo, and bass flute in each movement. The percussionist also plays different instruments in each movement: the vibraphone for Mid-Summer; the xylophone for Fall; the woodblock, temple block, and cowbells for Spring; the glockenspiel for Summer; and the marimba for Winter. The five movements of this work - Mid-Summer, Fall, Spring, Summer, and Winter - are based on a combination of Eastern performing practices with Western instruments. The musical characteristics are based on the techniques of fifteenth-century (e.g., isorhythmic technique) and twentieth-century Western music.
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Tracing Messiaen in Naji Hakim's Le Tombeau d'Olivier Messiaen

Tracing Messiaen in Naji Hakim's Le Tombeau d'Olivier Messiaen

Date: December 2006
Creator: Lee, Hye-Young
Description: Olivier Messiaen and Naji Hakim are both representative composers of the twentieth century. For the performer this "modern" music is difficult to analyze because of the increased complexities of its harmonic language. Therefore the purpose of this study is to demonstrate a way to approach Naji Hakim's Le Tombeau d'Olivier Messiaen through Messiaen's own musical language. This study examines how Hakim has borrowed Messiaen's theory and used it in his own piece. Chapter I outlines the purpose and motive of this study. Chapter II briefly outlines the piece, introduces the meaning of Tombeau in music history, and presents Messiaen's modes of limited transposition, one of the main sources used in the composition of Le Tombeau d'Olivier Messiaen. Chapter III details Messiaen's influence in Hakim's piece. This influence consists of four elements: melody, mode, harmony, and extra-musical ideas. This chapter is the primary portion of the document. After examining the influence of Messiaen, a conclusion of this study is offered in Chapter IV. Four appendixes are attached to this document: an interview with Naji Hakim about Le Tombeau d'Olivier Messiaen; the modes of limited transposition in Le Tombeau d'Olivier Messiaen; a biographical sketch of Naji Hakim; and program notes from Le ...
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Plays of Tennessee Williams as opera: An analysis of the elements of Williams's dramatic style in Lee Hoiby's  Summer and Smoke and André Previn's  A Streetcar Named Desire.

Plays of Tennessee Williams as opera: An analysis of the elements of Williams's dramatic style in Lee Hoiby's Summer and Smoke and André Previn's A Streetcar Named Desire.

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Date: December 2003
Creator: Lee, Kenneth Oneal
Description: There are two major, well-known operas based on plays of Tennessee Williams. He refused many times throughout his life to give permission for his play, A Streetcar Named Desire, to be set as an opera. It was not until the 1960s that he granted permission for Lee Hoiby to choose any of his plays as a basis for a new opera. Hoiby chose Summer and Smoke, a play which was written at approximately the same time as Streetcar. Lanford Wilson created the libretto for the opera which was given its premier in 1971 by the St. Paul Opera Association. In 1994 representatives of the Williams estate granted permission to the San Francisco Opera to commission an opera based on A Streetcar Named Desire. With a libretto by Philip Littell, the opera was composed by André Previn and given its premier in 1998. These two plays share common themes, character types, character relationships, and literary symbols due in part to the autobiographical nature of Williams's writings. The plays exhibit a cinematic nature and possess common dramatic elements such as the symbolic use of sets, props, and musical leitmotifs as a result of his attempts to create a new "plastic" style of ...
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Piano Concerto No. 4 in D Minor, Op. 70 by Anton Rubinstein: An analytical and historical study.

Piano Concerto No. 4 in D Minor, Op. 70 by Anton Rubinstein: An analytical and historical study.

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Date: May 2005
Creator: Peevey, Pui-King Cecilia
Description: Anton Rubinstein was primarily recognized as one of the greatest pianists of his time. However, Rubinstein yearned for recognition as a composer and worked prodigiously to realize that goal. Unfortunately, Rubinstein's works were virtually unknown today. One of Rubinstein's finest compositions, the Piano Concerto in D Minor, op. 70 has been the most frequently performed. It is one of the first "Russian" concertos that was written by a Russian composer, and was performed in Russian concert halls instead of the homes of Russian aristocracy. It is also considered the most successful and harmonious convergent of various musical styles which influenced Rubinstein. However, there is no formal, detailed analysis of the Concerto in the entire music literature. Therefore, the main purpose of this dissertation is to provide a thorough study of the Concerto from an analytical and historical standpoint. Rubinstein was also one of the most eminent educators in Russia. The St. Petersburg Conservatory of Music, which Rubinstein helped found in 1862, has to this day produced some of the most influential musicians in Russia. The other purpose of this dissertation is to evaluate Rubinstein's role as music educator. An overview of Rubinstein's works for piano and orchestra offers a general ...
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An Examination of Innovations in Alexander Scriabin’s Late Etudes for Piano

An Examination of Innovations in Alexander Scriabin’s Late Etudes for Piano

Date: December 2013
Creator: Lee, Kuo-Ying
Description: Alexander Scriabin (1872-1915) stands as one of the most unconventional twentieth-century Russian composers, particularly with respect to his piano works. The overwhelming majority of Scriabin's compositions—sixty-seven of his seventy-four published works—were written for solo piano. His etudes from 1905 forward are revolutionary, especially compared with his earlier Chopinesque style. Among Scriabin’s twenty-six etudes, his Op.49, No. 1 (1905), Op.56, No. 4 (1908) and the last three etudes of Op.65 (1912) date from his last period of composition. In the Op.49 etude, Scriabin started to abandon traditional tonality. He omitted the key signature altogether in the Op.56 etude. The final three etudes of Op.65 feature constant dissonances on ninths, sevenths and fifths. Alexander Scriabin’s last five etudes represent the culmination of his compositional development and innovations at the piano. Several factors coalesce in these etudes, including unusual harmony, bichords, non-tonal hierarchy, and structural symmetry. Most of these factors derive in some fashion from Scriabin’s increasing reliance upon the so-called “mystic chord” in his late works. This study will illustrate how Scriabin explored new sonorous and aesthetic ideas in his late etudes by means of these innovations.
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East Meets West: Nationalistic Elements in Selected Piano Solo Works of Chen Yi

East Meets West: Nationalistic Elements in Selected Piano Solo Works of Chen Yi

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Date: August 2001
Creator: Li, Songwen
Description: Since the founding of "New China" in 1949, the musical culture has undergone numerous periods of identity crisis, particularly during the ten-year "Cultural Revolution," due to the fact that music had always been used to serve the needs of political propaganda. Even the development of a "National Style" encouraged by the central government was a political "brainchild" under the socialist ideology. Nevertheless, professional musicians struggled to create a new path in musical composition while walking on the thin ice of harsh political climate. Isolated from the rest of the world for almost two decades, China's musical development had not been able to keep pace with the world until the late 1970s, when the central government reevaluated its agenda on how to lead the country. This change of political environment eventually led to a more open society. The newly established contact with the outside world in the musical scene lent great opportunities for Chinese musicians to study the newest thinking about music, which ultimately, in the early 1980s, fostered the emergence of a new "National Style"- the so-called "New Wave." The style of "New Wave" differs drastically from the earlier "National Style" in that it employs primarily twentieth-century compositional techniques in ...
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An Analytical Study of Mily Alekseyevich Balakirev's Musical Style in his Early Piano and Orchestra Works: Grande Fantaisie on Russian Folk Songs and Concerto Op.1 in F# Minor.

An Analytical Study of Mily Alekseyevich Balakirev's Musical Style in his Early Piano and Orchestra Works: Grande Fantaisie on Russian Folk Songs and Concerto Op.1 in F# Minor.

Date: May 2007
Creator: Kim, Miyang
Description: Balakirev's two early piano and orchestra works, Grande Fantaisie on Russian Folk Songs and Concerto Op. 1 in F# Minor, were composed in the middle of the nineteenth century when in Russia there were no particularly important works for piano and orchestra. Balakirev was still a teenager when he wrote these two pieces and unfortunately both remained unfinished. However the beauty and remarkable compositional achievement of these works should be highly recognized. There are six chapters in this essay. The general background, purpose and the state of research are discussed in the first chapter. The second chapter presents Balakirev's biographical information and the overview of his works for piano and orchestra is stated in Chapter III. Individual works, Grande Fantaisie and Concerto in F# Minor are discussed in the chapters IV and V, which including discussing compositional background, analysis and diagram of structural schemes. The last chapter concludes with Balakirev's contribution to Russian music and the development of the Russian concerto coming into its own. It deals particularly with Balakirev's approach to folk songs, which gives the concerto a unique Russian aesthetic, in addition to his ability to write in the European tradition.
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Heritage and Innovation of Harmony: A Study of West Side Story

Heritage and Innovation of Harmony: A Study of West Side Story

Date: Spring 2006
Creator: Miller, Nathan
Description: Honors thesis written by a student in the UNT Honors College discussing West Side Story, its history, its contributors, and the innovative musical numbers therein.
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The Influence of Hindemith's Harmonic Theories on Das Marienleben, op. 27

The Influence of Hindemith's Harmonic Theories on Das Marienleben, op. 27

Date: August 1978
Creator: Kubitza, Jana L.
Description: This study attempts to show the relationship of Hindemith's harmonic theories and practice in the revision of Das Marienleben, op. 27. The study is based on Hindemith's The Craft of Musical Composition, commentaries on Hindemith's application of his theories, and analyses of Das Marienleben. Chapter One concerns Hindemith's contribution as a theorist, including a synopsis of his harmonic theories, and his application of the theories in his compositions. Chapter Two concerns Das Marienleben itself, including general information about the work and its revision, and an analytical comparison of its two versions. Chapter Three concludes that Hindemith made improvements in the new version in accordance with his harmonic theories through replacing ambiguous harmony with carefully controlled fluctuation and clearly defined tonalities.
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Expansion of Musical Styles, Function of Texture, and Performing Techniques in Brian Lock's Sonic Archaeologies No. 1

Expansion of Musical Styles, Function of Texture, and Performing Techniques in Brian Lock's Sonic Archaeologies No. 1

Date: May 2016
Creator: Pardo, Daniel A
Description: British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Sonic Archaeologies No. 1, a piece in five movements (Black Rain, Psychomania, Kodo, Susperia, and Deep in the Machine), incorporates contemporary techniques to create sounds other than the Western concert flute, with the use of live reinforcement devices such as microphones and time-based audio effects within a D.A.W. (Digital Audio Workstation.) Reggae, Hip-Hop and cinematic styles are juxtaposed within the work, fusing current genres with traditional rhythmic forms like the ones found in a bourrée. As the solo instrument, flute provides more textural than melodic elements, and the performer is required to interact with an unpredictable sonic soundscape as a result of the improvisatory element of the keyboards and computer. The notation of Sonic Archaeologies No.1 invites ...
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A Study of Part Forms in the Selected Intermezzi (opp, 116-119) of Johannes Brahms

A Study of Part Forms in the Selected Intermezzi (opp, 116-119) of Johannes Brahms

Date: August 1979
Creator: Yang, Byung H.
Description: This study is an attempt to investigate part form structures in Brahms' Intermezzi, Opp. 116-119. Chapter One deals with the stylistic perspective in Brahms' piano writing in general as compared to his late works. Chapter Two concerns three aspects: 1) structural norms in part forms which are presented in many currently available textbooks on musical forms, 2) application of selected Brahms Intermezzi to above norms, and 3) the role of cadential types in part forms. Chapter Three analyzes structural aspects of all the Brahms Intermezzi in Opp. 116-119 and comments on pieces which appear problematic in terms of structural layout. Chapter Four, deals with the relationship between different thematic types and overall formal schemes.
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Piano Quintet

Piano Quintet

Date: May 1997
Creator: Tan, Chee-Tick
Description: The thesis is a traditional piano quintet in the manner of Bartok, incorporating compositional techniques such as golden ratio and using folk materials. Special effects on strings are limited for easy conversion to wind instruments. The piece is about 15 minutes long.
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A Schenkerian Analysis of Beethoven's E Minor Piano Sonata, Opus 90

A Schenkerian Analysis of Beethoven's E Minor Piano Sonata, Opus 90

Date: May 2010
Creator: Treber, Stefan L.
Description: This thesis examines the history and origins of Beethoven's E minor Piano Sonata and examines the possibility of the programmatic conception of the work. Dedicated to Beethoven's friend Count Moritz Lichnowsky, the sonata may have been inspired by the Count's illicit affair with his future wife, the singer and actress Josefa Stummer. Providing a thorough Schenkerian analysis of both movements, the inner harmonic structure of the composition is revealed and explained. The author also investigates and details the unpublished original analyses of the composition by Heinrich Schenker, Erika Elias, and Hans Weisse. Both English and German language sources are incorporated into a comprehensive examination of Beethoven's Piano Sonata, op. 90.
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A Combination of Asian Language with Foundations of Western Music: An Analysis of Isang Yun's Salomo for Flute Solo or Alto Flute Solo

A Combination of Asian Language with Foundations of Western Music: An Analysis of Isang Yun's Salomo for Flute Solo or Alto Flute Solo

Date: August 2005
Creator: Hur, Dae-Sik
Description: This dissertation introduces a Korean composer, Isang Yun (1917-1995), who embraced European traditions but retained Asian characteristics in his compositions. Attending the 1958 summer course in Darmstadt in Germany, Yun was strongly influenced by the avant-garde style of Boulez, Stockhausen, Nono, and Cage. In addition to his work as a composer, Yun distinguished himself, as one of the most important Asian composers to blend Eastern and Western music; and although his musical training focused on Western music, he continued the pursuit of Eastern sounds and philosophies throughout his musical life. Imprisoned in 1967 by the South Korean government, Isang Yun's music, particularly in later life, incorporates his beliefs on social and political issues together with musical ideas. Although his love of country was deep, Isang Yun was not allowed to return to South Korea, and he lived in Germany for the remainder of his professional life. In this study, my purpose is to investigate the development of Yun's musical ideas from his acceptance of Taoism four structures in the world: the Tao, heaven, earth, and man. The presence of both Western and Eastern influences in Yun's music provides the basic of his musical style, and analysis of Salomo für Altoflöte ...
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Gewesener Magdeburgische Musicus: An Examination into the Stylistic Characteristics of Heinrich Grimm's Eight-Voice Motet, Unser Leben Wehret Siebenzig Jahr'

Gewesener Magdeburgische Musicus: An Examination into the Stylistic Characteristics of Heinrich Grimm's Eight-Voice Motet, Unser Leben Wehret Siebenzig Jahr'

Date: December 2010
Creator: Dobbs, Benjamin Michael
Description: Although Magdeburg cantor Heinrich Grimm was frequently listed among prominent musical figures of the early seventeenth century such as Heinrich Schütz, Johann Hermann Schein, and Michael Praetorius in music lexica through the nineteenth century, he has almost disappeared from modern scholarship. However, a resurgence in Grimm studies has begun in recent years, especially in the areas of biographical study and compositional output. In this study, I examine the yet unexplored music-analytic perspective by investigating the stylistic characteristics of Grimm's 1631 motet, Unser Leben wehret siebenzig Jahr'. Furthermore, I compare his compositional technique to that of his contemporaries and predecessors with the goal of examining the work from both Renaissance and Baroque perspectives.
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Musical Borrowing: Referential Treatment in American Popular Music

Musical Borrowing: Referential Treatment in American Popular Music

Date: December 1998
Creator: DiGiallonardo, Richard L. (Richard Lee)
Description: This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
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