The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage.

The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage.

Date: May 2008
Creator: Tan, Sok-Hoon
Description: This study examines Liszt's use of the style hongrois in his Swiss book of Années de pèlerinage to reference certain sentiments he had experienced. The event that brought Liszt to Switzerland is discussed in Chapter 1 in order to establish an understanding of the personal difficulties facing Liszt during the period when the Swiss book took shape. Based on Jonathan Bellman's research of the style hongrois, Chapter 2 examines the Swiss pieces that exhibit musical gestures characteristic of this style. Bellman also introduced a second, metaphoric meaning of the style hongrois, which is discussed in Chapter 3 along with Liszt's accounts from his book Des Bohémien as well as the literary quotations that are included in the Swiss book. Together, the biographical facts, the accounts from Des Bohémien, and the literary quotations show that Liszt was using the style hongrois to substantiate the autobiographical significance of the Swiss book.
Contributing Partner: UNT Libraries
Social Discourse in the Savoy Theatre's Productions of  The Nautch Girl  (1891) and  Utopia Limited (1893): Exoticism and Victorian Self-Reflection

Social Discourse in the Savoy Theatre's Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection

Date: August 2003
Creator: Hicks, William L.
Description: As a consequence to Gilbert and Sullivan's famed Carpet Quarrel, two operettas with decidedly "exotic" themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society.
Contributing Partner: UNT Libraries
Singing Songs of Social Significance: Children's Music and Leftist Pedagogy in 1930s America

Singing Songs of Social Significance: Children's Music and Leftist Pedagogy in 1930s America

Date: December 2008
Creator: Haas, Benjamin D.
Description: In their shared goal of communicating left-wing principles to children through music, Marc Blitzstein's Worker's Kids of the World (1935), Aaron Copland's The Second Hurricane (1937), and Alex North's The Hither and Thither of Danny Dither (1941) exhibit a fundamental unity of purpose that binds them both to each other and to the extensive leftist pedagogical efforts of their time. By observing the parallel relationship among these three children's works and contemporary youth organizations, summer camps, and children's literature, their cultural objectives and stylistic idiosyncrasies emerge as expressions of a continuously evolving educational tradition. Whereas Worker's Kids comes out of the revolutionary Communist aesthetics of the Composers' Collective and the militant activism of The Young Pioneers, The Second Hurricane and Danny Dither reflect the increasingly accommodating educational efforts of the American Popular Front.
Contributing Partner: UNT Libraries
Carl Gottlieb Reissiger (1798-1859) Forgotten Composer for the Clarinet

Carl Gottlieb Reissiger (1798-1859) Forgotten Composer for the Clarinet

Date: May 2002
Creator: Coltman, Charles Arthur
Description: Carl Gottlieb Reissiger was a successful German composer, conductor, and teacher in the first half of the nineteenth century. At the height of his career, he was Hofkapellmeister of theater and opera in Dresden, a position he held until his death. He was a composer of more than 200 works in a multitude of different genres. Today he is mainly known as a composer of opera, a small portion of his total output as a composer. He wrote approximately eighty piano solos, eighty collections of songs or duets, nine masses, and many smaller sacred choral works, as well as 27 piano trios, seven piano quartets, and three piano quintets. In addition to these many works, he wrote five works for the clarinet: Concertino, op. 63, Duo Brillant for clarinet and piano, op. 130, Fantasie, op. 146, Second Fantasie, op. 180, and Adagio und Rondo alla polacca, op. 214. This document provides a biographical sketch of Reissiger, including his personal life, his life as a conductor, and his life as a composer. It also provides a look at the artistic life of his day: his fellow composers and the music they were writing for clarinet, outstanding clarinetists and the different instruments ...
Contributing Partner: UNT Libraries
Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet

Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet

Date: August 2002
Creator: Dunn, John T.
Description: This document's purpose is to analyze dualities found in different films of Shakespeare's Hamlet. Each version brings different ideas to it. By analyzing each version and focusing on the Ghost Scene, comparisons of the scene's symbolism are made between the musical scores. The beginning chapters provide a history of film, film music, the play, and events up to the ghost scene. After these chapters come analyses of the scene itself. Each version uses different parts of the play for its own purposes, but there are many commonalities between them. The score for each version of the Ghost Scene will be analyzed independently of each other. This work will contribute to musicology, film research, Shakespeare studies, and English scholarship.
Contributing Partner: UNT Libraries
Miles Davis: The Road to Modal Jazz

Miles Davis: The Road to Modal Jazz

Date: May 2007
Creator: Camacho Bernal, Leonardo
Description: The fact that Davis changed his mind radically several times throughout his life appeals to the curiosity. This thesis considers what could be one of the most important and definitive changes: the change from hard bop to modal jazz. This shift, although gradual, is best represented by and culminates in Kind of Blue, the first Davis album based on modal style, marking a clear break from hard bop. This thesis explores the motivations and reasons behind the change, and attempt to explain why it came about. The purpose of the study is to discover the reasons for the change itself as well as the reasons for the direction of the change: Why change and why modal music?
Contributing Partner: UNT Libraries
Finding the "Indian" in Amy Beach's Theme and Variations for Flute and String Quartet, op. 80.

Finding the "Indian" in Amy Beach's Theme and Variations for Flute and String Quartet, op. 80.

Date: December 2007
Creator: Burgess, Stephanie J.
Description: Music that is categorized as part of the Indianist movement in American music (ca. 1890-1925) typically evokes Native American culture, ritual, story, or song through compositional gestures. It may also incorporate Native American tunes. Amy Beach (1867-1944) is considered to have composed five Indianist works, but her Theme and Variations for Flute and String Quartet, op. 80 has not been included as one of them. This thesis rethinks categorization of the piece, seeking the "Indian" in it through examination of its gestures, instrumentation, and relationship to contemporary Indianist compositions.
Contributing Partner: UNT Libraries
Accessibility and Authenticity in Julia Smith's Cynthia Parker

Accessibility and Authenticity in Julia Smith's Cynthia Parker

Date: December 2007
Creator: Buehner, Katie R.
Description: In 1939, composer Julia Smith's first opera Cynthia Parker dramatized the story of a Texas legend. Smith manipulated music, text, and visual images to make the opera accessible for the audience in accordance with compositional and institutional practices in American opera of the 1930s. Transparent musical themes and common Native Americans stereotypes are used to define characters. Folk music is presented as diegetic, creating a sense of authenticity that places the audience into the opera's Western setting. The opera is codified for the audience using popular idioms, resulting in initial but not lasting success.
Contributing Partner: UNT Libraries
Still life in black and white: An intertextual interpretation of William Grant Still's "symphonic trilogy."

Still life in black and white: An intertextual interpretation of William Grant Still's "symphonic trilogy."

Access: Use of this item is restricted to the UNT Community.
Date: August 2005
Creator: Lamb, Earnest
Description: William Grant Still's musical achievements are legion. Because he was the first African American to break the color line in America's concert halls, Still earned the sobriquet "Dean of Negro Composers." Paradoxically, Still's reception suffers from this list of "firsts." The unintended consequence of cataloging his achievements venerates his position as an iconoclast while detracting critical attention from his music. Conversely, if we ignore the social context in which Still produced his music, we risk misinterpreting his compositional choices or trivializing the significance of his accomplishments prior to the Civil Rights Movement in America. Still's so-called symphonic trilogy-Africa, Symphony No. 1 ("Afro-American"), and Symphony No. 2 ("Song of a New Race")-is the subject of an intertextual analysis that demonstrates how extra-musical concerns, such as race, and musical elements can be brought into alignment. Chapter one discusses black music scholarship in general and Still scholarship in particular by tracing the development of black music historiography. The second chapter explores one of the various modes of inquiry used to study black music-intertextuality. The context for Still's self-titled racial and universal periods is the subject of chapter three. For the first time, arguments from both sides of the racial divide are reconsidered in ...
Contributing Partner: UNT Libraries
Michael Nyman: The Man Who Mistook His Wife for a Hat

Michael Nyman: The Man Who Mistook His Wife for a Hat

Date: May 2008
Creator: Avant-Rossi, Joan
Description: Composer Michael Nyman wrote the one-act, minimalist opera The Man Who Mistook His Wife for a Hat, based off the neurological case study written by Oliver Sacks under the same title. The opera is about a professional singer and professor whom suffers from visual agnosia. In chapter 1, the plot and history of the opera are discussed. Chapter 2 places The Man Who Mistook His Wife for a Hat alongside a selection of minimalist operas from Philip Glass and John Adams. Chapter 3 contains a history of the Fluxus art movement and shows where Fluxus-like examples appear in the opera. Chapter 4 includes Nyman's usage of minimalism, vocal congruencies, and Robert Schumann as musical elements that convey the drama.
Contributing Partner: UNT Libraries
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