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- [Catalog of Emeritus College: Fall 2012]
- The Osher Lifelong Learning Institute at UNT's course catalog for Fall 2012. Includes classes available at the University of North Texas and Texas Woman's University.
- College of Music Program Book 2011-2012: Ensemble & Other Performances, Volume 1
- Ensemble performances program book from the 2011-2012 school year at the University of North Texas College of Music.
- College of Music Program Book 2011-2012: Ensemble & Other Performances, Volume 2
- Ensemble performances program book from the 2011-2012 school year at the University of North Texas College of Music.
- College of Music Program Book 2011-2012: Ensemble & Other Performances, Volume 3
- Ensemble performances program book from the 2011-2012 school year at the University of North Texas College of Music.
- College of Music Program Book 2011-2012: Student Performances, Volume 1
- Student performances program book from the 2011-2012 school year at the University of North Texas College of Music.
- College of Music Program Book 2011-2012: Student Performances, Volume 3
- Student performances program book from the 2011-2012 school year at the University of North Texas College of Music.
- Journal of Schenkerian Studies, Volume 6, 2012
- Annual journal featuring "articles on all facets of Schenkerian thought, including theory, analysis, pedagogy, and historical aspects and reviews of relevant publications" (copyright page).
- Evaluation of Visual Impact on Cultural Resources/Historic Properties: North Atlantic, Mid-Atlantic, South Atlantic, and Florida Straits, Volume 2: Appendices
- A list of appendices for reference to the "Evaluation of Visual Impact on Cultural Resources/Historic Properties: North Atlantic, Mid-Atlantic, South Atlantic, and Florida Straits" study.
- Call Number, Volume 71, Number 1, Spring 2012
- Call Number is a twice yearly (spring and fall) magazine of the College of Information at the University of North Texas. The periodical contains information about professors, news in the departments, and the school's alumni.
- The North Texan, Volume 62, Number 1, Spring 2012
- The North Texan includes articles and notes about University of North Texas students, faculty, and alumni activities.
- Student Recital: 2012-03-28 - Musica Da Camera and Chiesa II
- A student recital performed at the UNT College of Music Voertman Hall.
- Non-Degree Recitals: 2012-03-29 - Kyungjin Yoo, cello
- A non-degree recital performed at the UNT College of Music Recital Hall
- Senior Recital: 2012-03-29 - Ann McLaughin, Harp
- A senior recital performed at the UNT College of Music Voertman Hall.
- Senior Recital: 2012-03-29 - Katherine Oppenheim, cello
- A senior recital performed at the UNT College of Music Recital Hall.
- Faculty and Guest Artist Recital: 2012-03-30 - Lynn Eustis, soprano and Hugh Russell, baritone and Craig Terry, piano
- A faculty and guest artist recital performed at the UNT College of Music Voertman Hall.
- Junior Recital: 2012-03-31 - Eun Seo Park, violin
- A junior recital performed at the UNT College of Music Recital Hall.
- Non-Degree Recital: 2012-03-31 - Erin Lensing, oboe and Jack Sutey, Bassoon
- A non-degree recital performed at the UNT College of Music Voertman Hall.
- Senior Recital: 2012-03-31 - Matthew Otte, trumpet
- A senior recital performed at the UNT College of Music Recital Hall.
- Ensemble and Guest Artist Concert: 2012-04-01 - UNT Symphonic Band and Greater Dallas Youth Orchestra
- A symphonic band concert performed at the UNT College of Music Winspear Hall
- Guest Artist Recital: 2012-04-02 - Filip Fenrych, violin and Zahari Metchkov, piano
- Guest violin recital performed at the UNT College of Music Voertman Hall.
- Senior Recital: 2012-04-06 - Alina Vazquez, cello
- A senior recital presented at the UNT College of Music Recital Hall.
- Senior Recital: 2012-04-07 - Yea-Lim Moon, mezzo-soprano
- A senior recital presented at the UNT College of Music Recital Hall.
- Faculty Recital: 2012-04-09 - Emanuel Borok, violin
- A faculty recital performed at the UNT College of Music Recital Hall.
- Faculty and Guest Artist Recital: 2012-04-11 - Gustavo Romero, piano and Jinson Kim, piano
- A piano recital performed at the UNT College of Music Voertman Hall.
- Senior Recital:2012-04-11 - William Kremer, cello
- A senior recital presented at the UNT College of Music Recital Hall.
- Doctoral Recital: 2012-04-12 - Elizabeth Johnson Knight, mezzo-soprano and Jonathan Yarrington, tenor
- Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
- Senior Recital: 2012-04-13 - Alexandra Trevino, soprano
- A senior recital presented at the UNT College of Music Recital Hall.
- Analysis of Roger-ducasse’s Pastorale Pour Orgue
- Pastorale pour Orgue (1909) is Jean Jules Aimable Roger-Ducasse’s only solo organ composition, which demonstrates skillful use of organ colors and demands a virtuoso technique for performance. Writing Pastorale in 1909, Roger-Ducasse synthesized compositional styles and techniques of two very different compositional approaches – impressionism and classicism. This study examines the stylistic characteristics of Pastorale by Roger-Ducasse as examples of both of these influences. the synthesis in Pastorale is primarily evident in the combination of classical forms and generic references with impressionist harmony and color. Thus, examining these musical elements provides hitherto unexplored insights into Pastorale as a master solo organ work of the early twentieth century. the dissertation is divided into four chapters. the first chapter presents the purpose, the significance, and the state of research of the piece. in the second chapter, I examine the traits of classicism through genre, form, thematic variation and other classicist elements of the composition. the third chapter presents the traits of impressionism including harmonic parallelism, extended chords, pedal points, ostinatos, and whole-tone scales. in the fourth chapter, I summarize the study and make a suggestion for further research of the piece.
- Go-hyang (Ancestral Home) By David Burge: a Performer’s Guide to Integrating Korean Musical and Cultural Aspects
- David Burge (b. 1930) composed the work Go-Hyang (1994) inspired by his impressions of Korea. the purpose of this study is to provide a performance guide particularly for the benefit of non- Korean pianists. Each of the six pieces of Go-Hyang contains Korean musical and/or cultural references. This document details these aspects, obviously stated or implied through the work. Investigation into distinct characteristics and Korean elements of each of the six movements will involve sources from multiple fields. Interviews with both the composer and the pianist Young-Hae Han for whom the work was written answer many questions about performance issues. Once the Korean reference is examined, it will be related to performance consideration of each movement, in order. the result of this examination will provide the performer not only with beneficial information to facilitate the performance but also with some cultural background to enrich the interpretation of the work.
- Overview and Introduction to the Organ Music of Alsatian-american Composer René Louis Becker (1882-1956)
- This dissertation provides the first biographical overview and annotated catalog of the organ music of Alsatian-American organist and composer René Louis Becker. Born and educated in Strasbourg, Alsace, Becker emigrated to the United States in 1904 and remained active as a composer and church musician for the next 50 years. in addition to providing sources for his biographical information, documentation of the specific organs with which Becker was professionally associated is included for the purpose of evaluating possible dates of composition of his undated organ works as well as for consideration of organ registrations when performing his works. Primary sources include newspaper clippings, personal correspondence, family scrapbooks, organ archives, and both published and unpublished manuscripts. Study of these manuscripts, including rediscovery of more than fifty works of Becker’s which were previously published in the early 1900s, present an opportunity to introduce a large new body of sophisticated repertoire from a distinguished and accomplished musician to the field of organ music. Becker composed more than 180 individual works for the organ, over half of which remain in manuscript and which were completely unknown since even before his death in 1956. Becker’s complete known oeuvre for organ includes 34 marches, 15 toccatas, three published large-scale sonatas as well as numerous works styled as preludes, postludes, finales, chansons, fantasies, fugues, and multiple small-scale compositions. After a brief biography and an overview of Becker’s compositional style and complete extant organ works, an introduction to his largest-scale work for the organ, the five-movement First Sonata in G, op. 40, is given. This is followed by an illustration of the overt stylistic influences present in the first two movements of that sonata with extensive musical examples, serving to establish Becker as one of the inheritors of the romantic tradition of the large-scale organ sonata and as …
- Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra By Ned Rorem: Background, Analysis, and Performance Guide
- The purpose of the document is to present Ned Rorem’s Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra. the eight songs are “To the Sun,” “Sun of the Sleepless,” “Dawn,” “Day,” “Catafalque,” “Full Many a Glorious Morning,” “Sundown Lights,” and “From What Can I Tell My Bones?” the document is divided into four main chapters: 1) Background; 2) Poet and Poem Background; 3) Musical Analysis; 4) Performance Guide. Chapter 1 contains biographical information on Ned Rorem, and basic information of the work, Sun. Here, a relationship between the eight songs is presented. Chapter 2 discusses biography of poet and background of the poem. the poetry is examined to determine the theme and to identify imagery, and metaphor. Chapter 3 offers detailed musical analysis for each of the eight songs and interludes. Chapter 4 provides performance guide which offers assistance in forming personal interpretation and brief specifies to singers who wish to perform this work. Appendix a includes tonality, difficulty, tempo, form, theme, range, and orchestration of each song and interlude. This study serves as a reference guide for performers of Sun.
- Uniting Commedia Dell’arte Traditions with the Spieltenor Repertoire
- Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. the Spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s Spieltenor benefit from consulting the commedia dell’arte’s traditions? to answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. the Spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. in addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the Spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five Spieltenor roles. Suggestions are provided to enhance the visual, physical and dramatic elements of each role’s performance. I conclude that linking a commedia dell’arte stock character to any Spieltenor role on the basis of shared traits offers an untapped resource to create distinctive characterizations based on theatrical traditions.
- The North Texan, Volume 62, Number 2, Summer 2012
- The North Texan includes articles and notes about University of North Texas students, faculty, and alumni activities.
- Catalog of the University of North Texas, 2012-2013, Graduate
- The UNT Graduate Bulletin includes information about class offerings as well as "policies, regulations, procedures and fees in effect at the time [the] publication went to press"
- Conductor Awareness of, Knowledge of, and Attitude Toward Sound Intensity Levels Generated During Ensemble-based Instructional Activities in College-level Schools of Music
- In 2011, the National Association of Schools of Music (NASM) took an official position to recognize the importance of hearing health and injury prevention as a standard for all member-accredited institutions. This is the largest national acknowledgement promoting hearing health and safety within the music discipline and among students seeking a music degree in the United States. The purpose of the study is to describe what conductors (i.e., instructors) of college-based ensembles know about hearing health and the generation of sound intensity levels. The study aimed to describe the 1) current state of conductors’ awareness and knowledge of sound intensity levels, 2) current attitudes of conductors toward learning and sharing knowledge of sound intensity levels, and 3) current teaching practices of conductors in regard to equipment usage (e.g. sound level meter, noise dosimeter, hearing protection devices) relating to sound measurement and exposure. Findings indicate 80.2% of conductors (N = 162, 66% employed by NASM-accredited institutions) agree that sounds generated during ensemble-based instructional activities (EBIAs) in college-level schools of music are capable of harming human hearing, but 24.1% “do not know” if EBIAs they conduct ever exceed sound intensity levels capable of harming human hearing, 54.9% do not know “what services or resources” their home institutions offer/refer to students, 93% are never using a noise dosimeter, 40% have never had an audiology exam, and 70% have never used hearing protection during an EBIA. Conductors have a strong openness to change current teaching practices and inform themselves about hearing health, but few are personally informing and educating their students during the EBIA. The study serves to assist conductors and foster a new dialogue among their students, colleagues, staff, and administrators to revise current curriculum, explore sound measurement technologies, and evaluate current hearing health and safety issues inherent in the practice, performance, and …
- Correcting the Record: a Comparison of Vladimir Ashkenazy’s Urtext-based Edition of Pictures at an Exhibition with Orchestration By Ravel and Stokowski
- Modest Mussorgsky (1839-1881) never published his piano suite, Pictures at an Exhibition. The first publication of the Pictures was Nikolai Rimsky-Korsakov’s (1844-1908) piano edition in 1886, five years after Mussorgsky’s death. Among several piano editions of Pictures, Manfred Schandert’s urtext piano edition of 1984 has shed new light on the piano suite. The urtext edition is based on a facsimile of Mussorgsky’s autograph, and Schandert’s authoritative urtext contains all of Mussorgsky’s musical indications that previous editions neglected to include. Previous orchestrations based on less comprehensive editions include well-known orchestrations by Maurice Ravel (1875-1937) and Leopold Stokowski (1882-1977). Vladimir Ashkenazy (b. 1937), on the other hand, derived his orchestration directly from the Schandert edition. In this study I argue that Ashkenazy offers “corrections” to his predecessors, Ravel and Stokowski, whose orchestrations differ—at times radically—from Mussorgsky’s autograph. This dissertation thus will explore the significant features of Ashkenazy’s orchestration in relation to the urtext edition by comparing it to the orchestrations of Ravel and Stokowski. In an age of attempts to present “authentic” versions of past music, Ashkenazy’s orchestration provides an authenticity that other orchestrations lack. Ashkenazy’s orchestration of Pictures at an Exhibition provides conductors an alternative performance option that is both effective and more closely related to Mussorgsky’s autograph.
- The Effect of Three Compositional Structures on the Compositional and Instructional Self-efficacy of Pre-service Music Teachers
- The purpose of this study was two-fold: 1) to compare the effects of three different composition tasks with varying degrees of structure on pre-service music teachers’ creative self-efficacy as composers and their instructional self-efficacy as pedagogues of composition; and 2) to describe through pre-service music teachers’ talk perceptions of composition and their experiences completing the three composition tasks. Participants (N = 29) were music education majors from three different sized universities in the northern-central region of the United States. At the beginning of the study, the participants answered a researcher-design self-efficacy questionnaire that measured (a) their self-efficacy as composers and (b) their self-efficacy as teachers of composition. Next, they composed three compositions of various task structures (unstructured, poem, and rhythm). Immediately after completing each task they again completed the self-efficacy questionnaire. Statistically significant mean differences between the pre-task administration of the measuring instrument and all three composition tasks were found for the pre-service teachers’ compositional self-efficacy. Statistically significant mean differences were also found between the unstructured task and the rhythm task, but not between the rhythm and poem tasks or the unstructured and poem tasks. For the pre-service teachers’ self-efficacy as pedagogues of composition question, the results were also statistically significant between the pre-task administration of the measuring instrument and all three composition tasks. Statistically significant mean differences were also found between the unstructured task and the rhythm task as well as the poem and rhythm tasks, but not between the unstructured and poem tasks. Additional data were gathered through semi-structured one-on-one interviews. Through their talk the pre-service music teachers commented that they enjoyed the overall composition process. This experience also seemed to challenge the participants’ assumptions about composition and appeared to make creative experiences more tenable and relevant to their future classroom experiences. The results of this study suggest …
- Lind, James Meyer the Trumpet Concertos of Anthony Plog: a Performer’s Guide
- Anthony Plog (b. 1947) has contributed several notable works for brass instruments. He is known for writing extremely technically challenging works that contain angular melodies, fast rhythms and a large degree of chromaticism. Though his music is difficult, it also conveys intense emotions. His music for trumpet, specifically Concerto no. 1 for Trumpet, Brass Ensemble and Percussion and Concerto no. 2 for Trumpet and Orchestra, represents a zenith in his compositional development. This dissertation examines Concerto no. 1 and Concerto no. 2 from a performer’s perspective to better understand the stylistic characteristics and challenges encountered in his music. Each concerto is examined in terms of rhythmic structure, intervallic structure, thematic material, motivic material and form.
- “Sounds for Adventurous Listeners”: Willis Conover, the Voice of America, and the International Reception of Avant-garde Jazz in the 1960S
- In “Sounds for Adventurous Listeners,” I argue that Conover’s role in the dissemination of jazz through the Music USA Jazz Hour was more influential on an educational level than what literature on Conover currently provides. Chapter 2 begins with an examination of current studies regarding the role of jazz in Cold War diplomacy, the sociopolitical implications of avant-garde jazz and race, the convergence of fandom and propaganda, the promoter as facilitator of musical trends, and the influence of international radio during the Cold War. In chapter 3 I introduce the Friends of Music USA Newsletter and explain its function as a record of overseas jazz reception and a document that cohered a global network of fans. I then focus on avant-garde debates of the 1960s and discuss Conover’s role overseas and in the United States. Chapter 4 engages social purpose and jazz criticism in the 1960s. I discuss Conover’s philosophy on social responsibility, and how his contributions intersected with other relevant discourses on race on the eve of the civil rights movement. I argue that Conover embodied two personas: one as jazz critic and promoter in the United States, and the other as an international intermediary. In chapter 5 I discuss how Conover presented the avant-garde to his overseas audience. I argue that through his efforts to broadcast jazz impartially, he legitimized avant-garde and emphasized its qualities as art music. In chapter 6 I explore fandom studies as they apply to the formation of Music USA as a global fan network. I discuss the early roots of Conover’s interest in science fiction fandom as a motivation for the implementation of the Friends of Music USA (FOMUSA) groups. Chapter 7 concludes in a discussion of the deification of Conover though the medium of radio in the midst of the Cold War. …
- Doctoral Lecture: 2012-08-29 – Marilia Gabriela do Nascimento Gimenes, flute
- Lecture presented at the UNT College of Music Graham Green Room in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
- The Society Diaries, September/October 2012
- Bimonthly magazine covering local events, fashion trends, social trends, travel, parties, Texas Socialites, dating advice, self-improvement, wellness, weddings, and more.
- The North Texan, Volume 62, Number 3, Fall 2012
- The North Texan includes articles and notes about University of North Texas students, faculty, and alumni activities.
- Oral History Interview with Vladislava Alaytseva, November 26, 2012
- Interview with Vladislava Alaytseva, Uzbekistani-born immigrant to Dallas, Texas, for the DFW Metroplex Immigrants Oral History Project. The interview includes Alaytseva's personal experiences of childhood in Uzbekistan, moving to the U.S., transitioning to the American school system, her first impressions the U.S., and the culture shock in America. Additionally, Alaytseva talks about the transition of Uzbekistan from a Soviet satellite to an independent Muslim nation, her mother's family in Russia, the differentiation between being ethnically Russian or Uzbekistani, the definition of "culture," the comparison of life in Uzbekistan and the U.S., and the elements of Uzbekistani culture brought to America.
- It's Not Fusion: Hybridity in the Music of Vijay Iyer and Rudresh Mahanthappa
- This thesis concerns the performance of identity in the music of Indian American jazz musicians Rudresh Mahanthappa and Vijay Iyer. In combining the use of Indian classical music elements with jazz, Iyer and Mahanthappa create music that is inextricably tied to their multifaceted identities. Traditional musicological analysis is juxtaposed with a theoretical framework that draws on postcolonial theory and the history of Asian immigrant populations to the U.S. I chronicle the interactions between Indian and Western music and link it to larger issues of Asian American identity formation and activism through music. Through interviews and transcriptions of studio recordings, I identify specific compositional and improvisational strategies of the musicians. I emphasize the role of individual agency in the formation of second-generation identities, drawing attention to the distinct ways that Iyer and Mahanthappa approach their music. Finally, I connect this research to a larger discourse on Indian American artistic identity.