Osvaldo Lacerda’s Sonata for Flute and Piano (1959): A Performance Guide with Historical Background of Brazilian Genres Embolada, Serestra, and Baião

Osvaldo Lacerda’s Sonata for Flute and Piano (1959): A Performance Guide with Historical Background of Brazilian Genres Embolada, Serestra, and Baião

Date: December 2012
Creator: Gimenes, Marilia Gabriela do Nascimento
Description: Osvaldo da Costa Lacerda (March 23, 1927-July 18, 2011), one of the most significant Brazilian composers of the twentieth century, wrote more than 250 compositions. The purpose of this dissertation is to provide a history and analysis of the Brazilian genres characterized in Osvaldo Lacerda’s, Sonata for Flute and Piano. Written in 1959, the sonata represents traditional Brazilian rhythms within a classical structure and modern harmony. The work provides a basis for the exploration of the embolada, the serestas, and the baião, examples of Brazilian typical song forms and rhythms. Analysis of the historical roots of these nationalistic elements will provide appropriate performance practice considerations when playing Brazilian rhythms; and because this sonata only exists in manuscript form, the historical analysis and performance guide will be of service to disseminate this important Brazilian work. As a basis for a critical edition of the Sonata for Flute and Piano, this initial effort will provide performers with a context for Brazilian flute music. Chapters include the Lacerda’s biography, a background of the nationalistic movement in Brazil and the composers who have influenced Osvaldo Lacerda. Definitions of embolada, serestas, and baião is also provided.
Contributing Partner: UNT Libraries
Gradus ad Parnassum of Modern Flute Technique: An Explication of Musical Intention and Design in 30 Capricen für Flöte allein, Opus 107 by Sigfrid Karg-Elert, with Three Recitals of Selected Works by Schulhoff, Telemann, Berio, Bach, Rodrigo, Gieseking, Reinecke, and Others

Gradus ad Parnassum of Modern Flute Technique: An Explication of Musical Intention and Design in 30 Capricen für Flöte allein, Opus 107 by Sigfrid Karg-Elert, with Three Recitals of Selected Works by Schulhoff, Telemann, Berio, Bach, Rodrigo, Gieseking, Reinecke, and Others

Date: December 2005
Creator: Scott, Lorie Elizabeth
Description: Gradus ad Parnassum of Modern Flute Technique: An Explication of Musical Intention and Design in 30 Capricen für Flöte allein, Opus 107 by Sigfrid Karg-Elert, with Three Recitals of Selected Works by Schulhoff, Telemann, Berio, Bach, Rodrigo, Gieseking, Reinecke, and Others
Contributing Partner: UNT Libraries
The Role Of The Piccolo In Beethoven's Orchestration

The Role Of The Piccolo In Beethoven's Orchestration

Date: December 2011
Creator: Teng, Kuo-Jen
Description: This dissertation discusses the role of the piccolo in Beethoven’s orchestration in his symphonic works. These include the Fifth Symphony, the Sixth Symphony, the Egmont Overture and the Ninth Symphony. The document includes the history of piccolo’s development since the ninth century B.C. until the modern Boehm piccolo. The author provides comparative observation through Beethoven’s orchestration techniques such as the range covered, instrumental pairing, balance, and melodic organization of each symphony works. In addition to discussing development of the piccolo in orchestration, this study compares the piccolo’s usage through motives (e.g. the “Ode to Joy” theme), harmonic analysis; range; balance; and melodic organization. Appendix A provides of tables that summarize piccolo’s harmonic function of works discussed to help the reader comprehend the piccolo function at a glance. This dissertation includes observations of performers, theorists and musicians; and these guides provide the reader with better understanding of the piccolo’s place in Beethoven’s orchestration. By following the observations, piccolo players will bring a deeper musical and technical understanding to individual performances.
Contributing Partner: UNT Libraries
Erwin Schulhoff (1894-1942): An Analytical Study and Discussion of Concertino for Flute, Viola, Double Bass, WV 75, and Sonata for Flute and Pianoforte, WV 86

Erwin Schulhoff (1894-1942): An Analytical Study and Discussion of Concertino for Flute, Viola, Double Bass, WV 75, and Sonata for Flute and Pianoforte, WV 86

Date: December 2011
Creator: Harman, Maria D Alene
Description: Erwin Schulhoff (1894–1942) was a Czechoslovakian musician born in Prague, to a German-Jewish family, and whose life came to a premature end in 1942 at the Wülzburg concentration camp, near Weißenburg, Bavaria. Schulhoff’s life, compositional style, and two of his flute works are addressed in this dissertation: Sonata for flute and pianoforte, WV 86, and Concertino for Flute, Viola, and Double Bass, WV 75. Each work is considered as a discrete entity, and insight provided into the structure of the music; stylistic and compositional influences, form, phrase structure, and other aspects are discussed. The intended audience is the flutist seeking knowledge regarding the historical significance and performance of each piece. The analysis and summary of Schulhoff’s life and primary flute works will contribute to the understanding of performance scholarship of his music and provide a deeper understanding of the composer, from the perspective of musical and compositional style.
Contributing Partner: UNT Libraries
The Poetic and Musical Dialogue of Ambrosini and Cavalcanti: a Study of Claudio Ambrosini’s a Guisa Di Un Arcier Presto Soriano for Solo Flute

The Poetic and Musical Dialogue of Ambrosini and Cavalcanti: a Study of Claudio Ambrosini’s a Guisa Di Un Arcier Presto Soriano for Solo Flute

Date: August 2013
Creator: Choi, Su-hyun
Description: Claudio Ambrosini’s (b. 1948) unpublished work for unaccompanied flute, A guisa di un arcier presto soriano (1981), although virtually unknown to the musical public and to connoisseurs alike, represents one of the most dazzling and impressive displays of extended techniques in the repertoire of solo flute music. The title, A guisa di un arcier presto soriano, comes from the seventh line of a sonnet by the Italian medieval poet Guido Cavalcanti (ca. 1250-1300) and translates as “just like a fast Syrian archer.” The archer in question is Eros, the Greek god of love. By the composer’s own admission, the form and expression of this piece is closely linked with the form and expression of Cavalcanti’s sonnet. In particular, Ambrosini intimates three elements specifically drawn from the poem: 1) moments of tension and suspense, as Eros silently approaches his target with bow and arrow in hand; 2) moments of love, even to the point of suggesting a love song; and 3) moments that suggest the fast passage of arrows. The purpose of this dissertation is to explore these three elements in Ambrosini’s work and to trace the correlations of the same elements in Cavalcanti’s sonnet. The expression of such concrete poetic ...
Contributing Partner: UNT Libraries
The Comparative Analysis of Slovakian Folk Elements From Béla Bartók’s for Children in Paul Schoenfield’s Slovakian Children’s Songs

The Comparative Analysis of Slovakian Folk Elements From Béla Bartók’s for Children in Paul Schoenfield’s Slovakian Children’s Songs

Date: August 2015
Creator: Son, Kristyn Hyun
Description: Paul Schoenfield’s Slovakian Children’s Songs for flute and piano is a unique work in the flute repertoire, incorporating Slovakian folk quotes from Béla Bartók’s For Children (Volume II, Based on Slovakian Folk Tunes) with layers of Slovakian folk elements used in the overall texture. The primary objective of this dissertation is to expand the limited resources available to flutists regarding Slovakian Children’s Songs. Detailed comparative analysis will demonstrate both Paul Schoenfield’s use of Slovakian folk tunes in the piece and his compositional style. In addition, this dissertation will develop the performer’s understanding of the work through background information, comparative analysis, and interviews to encourage insightful and informed performance. The dissertation’s purpose will be achieved through examining 1) the life, historical, and musical background of Paul Schoenfield and Slovakian Children’s Songs, as well that of Béla Bartók and For Children, and 2) how Schoenfield quotes and arranges Bartók’s For Children by providing a comparative analysis. Interviews with both the composer and Carol Wincenc will be included in the dissertation along with performance suggestions received directly from Carol Wincenc in the appendix.
Contributing Partner: UNT Libraries
Intraoral Pressure and Sound Pressure During Woodwind Performance

Intraoral Pressure and Sound Pressure During Woodwind Performance

Date: May 2016
Creator: Bowling, Micah
Description: For woodwind and brass performers, intraoral pressure is the measure of force exerted on the surface area of the oral cavity by the air transmitted from the lungs. This pressure is the combined effect of the volume of air forced into the oral cavity by the breathing apparatus and the resistance of the embouchure, reed opening, and instrument’s back pressure. Recent research by Michael Adduci shows that intraoral pressures during oboe performance can exceed capabilities for corresponding increases in sound output, suggesting a potentially hazardous situation for the development of soft tissue disorders in the throat and velopharyngeal insufficiencies. However, considering that oboe back pressure is perhaps the highest among the woodwind instruments, this problem may or may not occur in other woodwinds. There has been no research of this type for the other woodwind instruments. My study was completed to expand the current research by comparing intraoral pressure (IOP) and sound pressure when performing with a characteristic tone on oboe, clarinet, flute, bassoon, and saxophone. The expected results should show that, as sound pressure levels increase, intraoral pressure will also increase. The subjects, undergraduate and graduate music majors at the University of North Texas, performed a series of musical ...
Contributing Partner: UNT Libraries
Light From Behind the Iron Curtain: Anti-Collectivist Style in Edison Denisov's Quatre Pièces pour flûte et piano, With Three Recitals of Selected Works by Bach, Beaser, Carter, Fauré, Martin, Ibert, Liebermann, and Others

Light From Behind the Iron Curtain: Anti-Collectivist Style in Edison Denisov's Quatre Pièces pour flûte et piano, With Three Recitals of Selected Works by Bach, Beaser, Carter, Fauré, Martin, Ibert, Liebermann, and Others

Date: August 2000
Creator: Luce, Brian Arzy
Description: An examination of the compositional style illustrative of the anti-collectivist ideology as found in Edison Denisov's Quatre Pièces pour flûte et piano. Includes a short history of Denisov's formal training, history of the Soviet musical environment, an overview of his creative output, and discussion of the anti-collectivist characteristics in his works. Defines the anti-collectivist doctrine as individual reaction to the totalitarian collective of the Soviet communist state of the twentieth century. Identification of eclectic compositional techniques, and how they represent individual expression under a totalitarian regime. Listing of Denisov's works with the flute in a primary role, interviews with Aurèle Nicolet and Ekaterina Denisov, correspondence from Denisov to Nicolet, and the manuscript score to Quatre Pièces pour flûte et piano follow as appendices.
Contributing Partner: UNT Libraries
The Early Music Ensemble in 21st Century America

The Early Music Ensemble in 21st Century America

Date: December 2003
Creator: Assid, Tonya
Description: The early music ensemble has evolved from a counterculture to a mainstream musical genre. Because of this early music is having to learn arts management. Once a unique force it now competes with other arts organizations for funding and audience. Unlike other arts groups, early music has little help from within to clarify non-profit management. Through three types of surveys that were e-mailed to 239 early music organizations and 20 early music societies, an assessment of what is currently happening with early music ensembles in terms of growth, funding and over all well-being can be made. The information obtained revealed that most early music ensembles have little or no training in how to run an organization. This inexperience is creating problems and changing the face of early music. Information from the surveys also reveals that even with the economic problems over the last three years, early music is continuing to survive.
Contributing Partner: UNT Libraries
Ida Gotkovsky's Eolienne Pour Flute et Harpe in Theory and Practice: A Critical Analysis

Ida Gotkovsky's Eolienne Pour Flute et Harpe in Theory and Practice: A Critical Analysis

Date: May 2010
Creator: Surman, Patricia Jovanna
Description: This dissertation addresses specific theoretical issues within Gotkovsky's Eolienne. She was a student of Messiaen, and his influence is evident in Eolienne, but at the same time, Gotkovsky's compositional voice is both personally distinctive and reflects l'esprit de temps of the twentieth century Parisian musical world. The research provides extensive analytical insight into Gotkovsky's musical language in Eolienne, specifically her use of symmetrical scales, emphasis on timbre, and formal constructs. Because there are limited scholarly resources available on the subject of flute and harp chamber music, and a small amount of biographical information on Gotkovsky, this dissertation is a significant contribution within the area of chamber music for flute, both historically and theoretically. It provides an analysis of Gotkovsky's musical language and the analysis gives performers access to musical-theoretical information previously unavailable.
Contributing Partner: UNT Libraries
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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The Flute: the Mechanical Improvements on the Body of the Orchestral Instrument since 1847

The Flute: the Mechanical Improvements on the Body of the Orchestral Instrument since 1847

Date: August 1994
Creator: Nussbaum, Carolyn
Description: This thesis uniquely explains the mechanical improvements which have occurred to the flute over the last 147 years. Theobald Boehm revolutionized the flute by changing many of its components culminating with the 1847 model flute. Since that time other improvements have been made which enhance the flute's capabilities in terms of pitch, tone, timbre, and simplification offingeringpassages. Among those improvements which are discussed in the following pages are the Dorus G-sharp key, the gizmo key, the Cooper scale, and The Brogger Mekanik as well as the makers behind the various improvements including Vincent Dorus, George Barrere, and Albert Cooper.
Contributing Partner: UNT Libraries
Evolutions: A Study of George Crumb and Vox Balaenae

Evolutions: A Study of George Crumb and Vox Balaenae

Access: Use of this item is restricted to the UNT Community.
Date: Summer 2002
Creator: Wilhelms, Jennifer Ann
Description: Thesis written by a student in the UNT Honors College discussing the life of George Crumb, his compositions, and the natural world as his inspiration for Vox Balaenae.
Contributing Partner: UNT Honors College
Six Oboe Sonatas by Giuseppe Sammartini (Sibley Manuscript S. 189): With Critical Commentary and a Performing Edition of Sonata Five, a Lecture Recital, Together with Three Other Recitals

Six Oboe Sonatas by Giuseppe Sammartini (Sibley Manuscript S. 189): With Critical Commentary and a Performing Edition of Sonata Five, a Lecture Recital, Together with Three Other Recitals

Date: December 1985
Creator: Combs, Julia C. (Julia Carolyn)
Description: The lecture was given on October 7, 1985. The discussion dealt with the stylistic characteristics of six oboe sonatas and preparation of a performing edition of the fifth sonata by the eighteenth-century oboist and composer Giuseppe Sammartini. After Sammartini emigrated from Milan to London in the 1720s, he became the leading oboist in England. Both his playing and his compositions were praised by contemporaneous writers including Burney and Hawkins. Sammartini's oboe sonatas share stylistic traits with the work of his baroque contemporaries while looking forward to the emergence of the classical style. Five of the sonatas show derivation from the sonata da camera, while one is a clear example of the sonata da chiesa. As some of the few baroque sonatas composed specifically for the oboe, they represent important new additions to a limited repertoire. The performance practice problems encountered included realization of the unfigured bass accompaniment, correcting errors in the manuscript, and providing performance directions for tempos, dynamics, articulation, and ornamentation. In addition to the lecture recital, three other recitals for solo oboe were given. The first recital was given on November 7, 1983 and included works by Antonio Vivaldi, Ernst Eichner, Bohuslav Martina, and Heinrich von Herzogenberg. The ...
Contributing Partner: UNT Libraries
Les Morceaux de Concours de Flûte du Conservatoire de Paris: A Structural Comparison of Selected Works of Jean-Louis Tulou and Joseph-Henri Altès: A Lecture Recital Together with Three Recitals of Selected Works of Mozart, Halffter, Gaubert and Others

Les Morceaux de Concours de Flûte du Conservatoire de Paris: A Structural Comparison of Selected Works of Jean-Louis Tulou and Joseph-Henri Altès: A Lecture Recital Together with Three Recitals of Selected Works of Mozart, Halffter, Gaubert and Others

Date: August 1987
Creator: Lattimore, Lee Ian
Description: The lecture was presented April 7, 1987. This presentation centered on the flute music literature used for the Concours of the Conservatoire de Paris from 1828 through 1893. The historical parameter began with Jean-Louis Tulou's tenure as flute professor at the Conservatoire and ended with Joseph-Henri Altes'tenure in the same capacity. The Concours is an annual performance competition to determine which students on each instrument will graduate from the Conservatoire. The majority of Concours pieces for flute during the tenures of professors from Tulou through Altes were composed by those two men. Short biographies of Tulou and Altes were presented. Discussion of interim professors Victor Coche and Vincent-Joseph Dorus was included, with focus on the role of these two men in bringing acceptance of the Boehm system flute to the Conservatoire. Tulou's fifteen Grands Solos were compared in form, key center and tonal progression. His themes and passagework are constructed to best display the conical-bore, old system-flute with small toneholes. His Solos continued to be used for the Concours, in alternation with Altes', throughout the tenures of both Vincent-Joseph Dorus and Altes. Tulou's Cinquieme Grand Solo was used for more detailed analysis and performance. Altes wrote his Solos de Concours ...
Contributing Partner: UNT Libraries
Form and tonality as elements of neoclassical style in two works by Jean Francaix: Divertimento pour flute et piano (1955) and Suite pour flute seule (1963) with three recitals of selected works of Mozart, Widor, Feld, Muczynski and others

Form and tonality as elements of neoclassical style in two works by Jean Francaix: Divertimento pour flute et piano (1955) and Suite pour flute seule (1963) with three recitals of selected works of Mozart, Widor, Feld, Muczynski and others

Date: May 1996
Creator: Ruppe, Elizabeth Ambler
Description: The music of Jean Francaix is well known to those familiar with woodwind chamber literature. His long, successful career began in the 1930s when French composers rejected the excessively chromatic harmonies, intense emotionalism and grandiose proportions of late Romantic music. Embracing the concepts of neoclassicism, economy of means, clarity and objectivity, and a return to diatonicism and formal structures, the new "Classical" music contained the added spice of twentieth-century harmonic techniques including bitonality, modality, and quartal and quintal harmonies. Francaix has written many concertos and solos for woodwind instruments, but his enduring popularity resides in his chamber music for various combinations. His publisher for the last six decades has been B. Schott's Sohne who commissioned Francaix to write several chamber works in honor of his eightieth birthday. Two of his works for flute, Divertimento pour flute et piano and Suite pour flute seule, are known to professional flutists but not considered standards in the flute repertoire. The purpose of this paper is to call attention to the wide variety of Francaix's repertoire which is eminently suitable for concert and recital programming. The identification of formal and tonal elements in Francaix's two works for flute helps to place his prodigious output ...
Contributing Partner: UNT Libraries
Orfeo I: an Analytic Investigation of Thea Musgrave's Work for Flute and Tape, with Performance Guide

Orfeo I: an Analytic Investigation of Thea Musgrave's Work for Flute and Tape, with Performance Guide

Date: August 1989
Creator: Shotola, Marilyn W.
Description: This comprehensive study of Thea Musgrave's Orfeo I is the basis for a lecture-recital performed on March 20, 1989, at the University of North Texas, as part of DMA dissertation requirements. It includes: brief bio-background of Musgrave and Orfeo; historical background of both the Orpheus legend and some landmark dramatic works based on it; general development of Musgrave's dramatic language and specific ways in which she uses it in this composition; analysis of the work; performance guide; and annotated appendix listing Musgrave's published and recorded chamber works which include flute. Orfeo I is a major work for flute and electronic tape comprised entirely of manipulated flute sounds. It was commissioned by the British Broadcasting Corporation for James Galway, who recorded the taped material and was the featured performer in the 1976 London premier. An alternate version, Orfeo II, with fifteen strings in place of electronic tape, was premiered by David Shostac in 1976 in Los Angeles, and conducted by the composer. Orfeo's form is programmatically designed, divided into six sections based on Musgrave's "Scenario"of the Orpheus myth. Characters are dramatically depicted through means of "motifs"; that of Orpheus in solo flute, and all others in tape sounds. Musgrave uses quotations ...
Contributing Partner: UNT Libraries
Ensemble: 1990-03-07 - UNT Symphony Orchestra

Ensemble: 1990-03-07 - UNT Symphony Orchestra

Access: Use of this item is restricted to the UNT Community.
Date: March 7, 1990
Creator: UNT Symphony Orchestra
Description: Orchestra concert performed at the UNT College of Music Concert Hall.
Contributing Partner: UNT Music Library
Faculty Recital: 1989-11-13 - North Texas Winds

Faculty Recital: 1989-11-13 - North Texas Winds

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Date: November 13, 1989
Creator: North Texas Winds
Description: A faculty recital performed at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Ensemble: 1998-11-04 - UNT Chamber Orchestra

Ensemble: 1998-11-04 - UNT Chamber Orchestra

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Date: November 4, 1998
Creator: UNT Chamber Orchestra
Description: UNT Chamber Orchestra performed at the UNT College of Music Concert Hall.
Contributing Partner: UNT Music Library
Guest Artist Recital: 2000-05-02 - Music of Guest Composer Dr. Jindřich Feld

Guest Artist Recital: 2000-05-02 - Music of Guest Composer Dr. Jindřich Feld

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Date: May 2, 2000
Creator: Feld, Jindřich, 1925-2007
Description: Guest composer recital performed at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Ensemble: 1994-06-23 - The Fourth Annual Summer Music Festival

Ensemble: 1994-06-23 - The Fourth Annual Summer Music Festival

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Date: June 23, 1994
Creator: Brusilow, Anshel
Description: An Ensemble Concert performed in the UNT College of Music Concert Hall.
Contributing Partner: UNT Music Library
Faculty Recital: 2005-01-25 - Mary Karen Clardy, flute

Faculty Recital: 2005-01-25 - Mary Karen Clardy, flute

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Date: January 25, 2005
Creator: Clardy, Mary Karen
Description: Faculty recital performed at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
Guest Artist Recital: 2003-11-24 - October Trio

Guest Artist Recital: 2003-11-24 - October Trio

Access: Use of this item is restricted to the UNT Community.
Date: November 24, 2003
Creator: October Trio
Description: Concert presented at the UNT College of Music Recital Hall.
Contributing Partner: UNT Music Library
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