An Historical and Technical Analysis of the Mozart Horn Concerti

An Historical and Technical Analysis of the Mozart Horn Concerti

Date: 1950
Creator: Myers, Allen, 1925-
Description: This thesis presents an historical and technical analysis of the Mozart horn concerti.
Contributing Partner: UNT Libraries
The French Ballet De Cour and Its Predecessors, 1400-1650

The French Ballet De Cour and Its Predecessors, 1400-1650

Date: January 1952
Creator: Bice, John Arch
Description: A study of the historical development of the origins of ballet in Italy and France during the fifteenth and sixteenth centuries. Specifically focuses on the ballet-comique de la reine and the ballet de cour.
Contributing Partner: UNT Libraries
The Early Piano Sonatas of Prokofiev

The Early Piano Sonatas of Prokofiev

Date: January 1955
Creator: Meeks, Ida Ledale
Description: The purpose of this thesis is to give a descriptive look at modern Russian music, specifically the early piano sonatas of Russian composer Sergei Prokofiev, with focus on style and style influences.
Contributing Partner: UNT Libraries
An Analysis of William Walton's Concerto for Violin and Orchestra

An Analysis of William Walton's Concerto for Violin and Orchestra

Date: January 1957
Creator: Pipkin, Robert Joseph
Description: The rhythmic analyses (derived from the rhythm tables of Chapter II) reveal: 1. Walton used rhythms sparingly. 2. Walton's rhythms constitute an evolutionary state of re-creation, i. e., Walton's rhythms are in empathy with each other. The harmonic analyses (derived from the harmonic fluctuation tables of Chapter II) reveal: 1. The most frequent chords of any classification occur in groups III and IV (chords of the highest tension). 2. The most frequent dissonant interval used is that of the major seventh.
Contributing Partner: UNT Libraries
The Concert Arias of Mozart for the Bass and Tenor Voices

The Concert Arias of Mozart for the Bass and Tenor Voices

Date: August 1955
Creator: Smith, Charles Temple
Description: The concert arias of Mozart are probably among the least known works of this genius among composers, yet they represent no small part of his musical output and are scattered throughout every period of his life. He composed a total of fifty-seven in all, the first when he was only nine years old and the last one in the final year of his life. Mozart's fifty-seven concert arias are divided among the four voice groupings as follows: one for alto, eight for bass, ten for tenor and thirty-eight for soprano. Of these soprano arias one (K. 569)l is lost and two (K. 307 and K. 308) are merely ariettas on French texts. It is with the eighteen arias for normal male voice that this discussion will be primarily concerned; arias for the castrati voice will not be considered.
Contributing Partner: UNT Libraries
The Melodic Use of the Augmented Second in the Eighteenth Century

The Melodic Use of the Augmented Second in the Eighteenth Century

Date: January 1952
Creator: Shipp, Clifford M. (Clifford Marion)
Description: When a particular phase of music theory is omitted from the contents of a treatise or textbook on that subject, the omission can usually be ascribed to one of two causes. Either the omitted phase is of little importance or it is not used in the music of the period on which the treatise or textbook is based. It is the purpose of this research study to discuss a particular phase of music theory that has been omitted or avoided by numerous counterpoint and theory textbook authors. The material in the contents of this work is based on a discussion of the melodic use of the augmented second in the music of the eighteenth century.
Contributing Partner: UNT Libraries
Modality in Three of the Choral Works of Ralph Vaughan Williams: Mass in G Minor, Five Tudor Portraits and Te Deum in E Minor

Modality in Three of the Choral Works of Ralph Vaughan Williams: Mass in G Minor, Five Tudor Portraits and Te Deum in E Minor

Date: August 1957
Creator: McCain, Eula Louise
Description: To summarize in general the use of modes by Vaughan Williams, it could be said that the works that have been analyzed are characterized by frequent use of the traditional modes, but in a very free manner. The "Kyrie" of the Mass, "Pretty Bess," "Jolly Rutterkin" and Te Deum are confined somewhat closely to given modes, with some changes of mode, changes of tonality and use of altered chords. The "Gloria," "Credo," "Sanctus," "Osanna I," "Benedictus," "Osanna II" and "Agnus Dei" of the Mass, however, contain many striking chromaticisms. These chromaticisms are the result of use of many altered chords, a good deal of modulation and much combining of modes, often with startling cross-relations. The use of seventh chords in "Pretty Bess," "Jolly Rutterkin" and Te Deum further complicates the picture from that of the sixteenth century.
Contributing Partner: UNT Libraries
A Comparative Study of Three Sonatas for Solo Brass Instruments and Piano by Paul Hindemith

A Comparative Study of Three Sonatas for Solo Brass Instruments and Piano by Paul Hindemith

Date: June 1957
Creator: Alley, Edward Lee
Description: In the years during the writing of The Craft of Musical Composition, and for the next few years afterwards, Hindemith was engaged in writing a solo sonata for each of the instruments of the orchestra. Muser states that this series of sonatas continues a definite policy of providing music for people who want to play music, and not merely to listen to it. The three sonatas for solo brass instruments and piano were written during this period. The sonatas, written for trumpet, horn, and trombone, were written in the following order: Sonata for Trumpet and Piano—1939; Sonata for Horn and Piano—1939; Sonata for Trombone and Piano—1941. These sonatas, being written rather closely together, should have certain stylistic characteristics in common, and there should also be certain features peculiar to each sonata. To study these sonatas and compare them with each other structurally and stylistically is the purpose of this work.
Contributing Partner: UNT Libraries
The Analytical System of Hindemith and Schenker as Applied to Two Works of Arnold Schoenberg

The Analytical System of Hindemith and Schenker as Applied to Two Works of Arnold Schoenberg

Date: January 1956
Creator: Miron, Nathan (Nathan Ben)
Description: This thesis uses two different musical analytical systems, one of Heinrich Schenker and one of Paul Hindemith, to analyze tonality within "Die Gurre Lieder" and "Fourth String Quartet" by Arnold Schoenberg.
Contributing Partner: UNT Libraries
The Development of Baptist Hymnody with Particular Emphasis on the Southern Baptist Convention

The Development of Baptist Hymnody with Particular Emphasis on the Southern Baptist Convention

Date: August 1955
Creator: Wall, Woodrow Wilson
Description: This thesis undertakes a study of some of the historical origins and developments of the Southern Baptist Convention in relation to its music.
Contributing Partner: UNT Libraries
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