Flames II

Flames II

Date: Summer 2002
Creator: Reagan, Brenton S.
Description: Thesis written by a student in the UNT Honors College discussing the authors composition of a musical piece called Flames II. He includes his influences, techniques, and sheet music.
Contributing Partner: UNT Honors College
Anthoni van Noordt: Historical and Analytical Analysis of His Tabulatuurboeck van Psalmen en Fantasyen of 1659

Anthoni van Noordt: Historical and Analytical Analysis of His Tabulatuurboeck van Psalmen en Fantasyen of 1659

Date: May 2008
Creator: Javadova, Jamila
Description: This dissertation presents a historical and analytical study of the organ works of Anthoni van Noordt. Van Noordt's Tabulatuurboeck is one of the most important music publications in mid-seventeenth-century Netherlands. It gives unique, valuable information on organ playing of its time. The process of discrete analysis has led to the identification and exploration of many details, such as extensive use of pedal, the reliance of the composer on rhetorical principals of composition, and his integration of the Italian and German principals of ensemble techniques. The dissertation is divided into three major parts. The first part contains chapters on van Noordt's biography based on available archival documents as well as a chapter on the organ and its role in seventeenth -century Amsterdam. The second part is solely dedicated to the Tabulatuurboeck examining the physical and technical features of the publication including the style of the publication, the letter and staff notation, hand positions, and rhetorical components. Finally, the third part studies the music and its peculiar characteristics with separate chapters on the variations and fantasias.
Contributing Partner: UNT Libraries
Imagined Sounds: Their Role in the Strict and Free Compositional Practice of Anton Bruckner

Imagined Sounds: Their Role in the Strict and Free Compositional Practice of Anton Bruckner

Date: May 2008
Creator: Brooks, Jonathan
Description: The present study develops a dynamic model of strict and free composition that views them as relative to a specific historical context. The dynamic view espoused here regards free embellishments of an earlier compositional generation as becoming the models for a strict compositional theory in a later one. From the newly established strict compositional models, succeeding generations of composers produce new free embellishments. The first part of the study develops the dynamic conception of a continuously emerging strict composition as the context necessary for understanding Anton Bruckner's compositional methodology with respect to the harmonic instruction of his teacher, Simon Sechter. In other words, I view Sechter's harmonic theories as a strict compositional platform for Bruckner's free compositional applications. Many theoretical treatises of the seventeenth, eighteenth and nineteenth centuries such as those by Christoph Bernhard, Johann Philipp Kirnberger and Sechter acknowledged that strict composition must provide the structural framework for free composition. The above procedure becomes a manner of justifying a free embellishment since a "theorist" can demonstrate or assert the steps necessary to connect it with an accepted model from a contrapuntal or harmonic theory. The present study demonstrates that the justification relationship is a necessary component for understanding any ...
Contributing Partner: UNT Libraries
The Lessons of Arnold Schoenberg in Teaching the Musikalische Gedanke

The Lessons of Arnold Schoenberg in Teaching the Musikalische Gedanke

Date: May 2009
Creator: Conlon, Colleen Marie
Description: Arnold Schoenberg's teaching career spanned over fifty years and included experiences in Austria, Germany, and the United States. Schoenberg's teaching assistant, Leonard Stein, transcribed Schoenberg's class lectures at UCLA from 1936 to 1944. Most of these notes resulted in publications that provide pedagogical examples of combined elements from Schoenberg's European years of teaching with his years of teaching in America. There are also class notes from Schoenberg's later lectures that have gone unexamined. These notes contain substantial examples of Schoenberg's later theories with analyses of masterworks that have never been published. Both the class notes and the subsequent publications reveal Schoenberg's comprehensive approach to understanding the presentation of the Gedanke or musical idea. In his later classes especially, Schoenberg demonstrated a method of analyzing musical compositions using illustrations of elements of the Grundgestalt or "basic shape," which contains the technical aspects of the musical parts. Through an examination of his published and unpublished manuscripts, this study will demonstrate Schoenberg's commitment to a comprehensive approach to teaching. Schoenberg's heritage of eighteenth- and nineteenth-century music theory is evident in his Harmonielehre and in his other European writings. The latter include Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre (ZKIF), and Der musikalische Gedanke und die Logik, ...
Contributing Partner: UNT Libraries
Begleitungsmusik zu einer Lichtspielszene, Op. 34: Evidence of Arnold Schoenberg's  musikalische Gedanke

Begleitungsmusik zu einer Lichtspielszene, Op. 34: Evidence of Arnold Schoenberg's musikalische Gedanke

Date: May 2004
Creator: Fukuchi, Hidetoshi
Description: Composition for Arnold Schoenberg is a comprehensible presentation of a musical idea (musikalische Gedanke); the totality of a piece represents the idea. For tonal works, he defines Gedanke as a process of resolving the "tonal relation" or "tonal problem." Contrary to the numerous tonal examples illustrating the notion of Gedanke, Schoenberg hardly expounds on the Gedanke principle for his atonal and twelve-tone repertoires. This study reevaluates Schoenberg's compositional philosophy and aesthetics including Gedanke, comprehensibility, Grundgestalt, and developing variation in light of his compositional practices in Begleitungsmusik zu einer Lichtspielszene, Op. 34. Although Schoenberg denies the existence of a tonal problem and hierarchy among pitches in twelve-tone compositions, the registral placement found in Op. 34 indicates certain functionality assigned to each pitch-class, producing a sense of "departure and return." The approach here elucidates the "idea" of Op. 34, in which the large-scale formal organization unfolds through contextually emphasized tonal relations. This study also explores Schoenberg's concept of the multi-dimensional presentation of a musical idea. Even though Schoenberg's discussion of musical coherence is usually limited to the immediate musical surface, I believe that he was also aware of an extended realization of foreground motives in the sense of Heinrich Schenker's "concealed motivic ...
Contributing Partner: UNT Libraries
The Segmentation Process and its Influence on Structure in the  Malheur Me Bat Masses of Obrecht and Josquin

The Segmentation Process and its Influence on Structure in the Malheur Me Bat Masses of Obrecht and Josquin

Date: December 2002
Creator: Jarzombek, Ralph
Description: This study examines in detail the various aspects of the segmentation process as applied by Obrecht and Josquin to the chanson Malheur me bat, especially the effect of this process on the structure of each composer's respective mass. Although musical aspects such as cadences and mode have varying degrees of influence on the structure of these two masses, the primary influence is the establishment of proportional relationships that occur as a result of the segmentation process. Sources of previous music research frequently point out that Obrecht's Mass utilizes both the Phrygian and Aeolian modes, while in Josquin's Mass the Phrygian mode is the firmly established mode throughout. Since segments in Obrecht's Mass are usually not connected to one another, strong cadences frequently occur at the end of the segments throughout. On the other hand, since the segments in Josquin's Mass are usually connected to one another, weak internal cadences frequently occur throughout, with strong cadences reserved for the end of sections.
Contributing Partner: UNT Libraries
Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio

Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio

Date: May 2006
Creator: Moore, Michael J.
Description: Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio
Contributing Partner: UNT Libraries
A Performer's Analysis of Maurice Ravel's  Chansons madécasses: A Lecture Recital, Together with Three Recitals of Selected Works of B. Britten, R. Schumann, S. Barber, T. Pasatieri, F. Poulenc, G. Verdi, T. Arne, and Others

A Performer's Analysis of Maurice Ravel's Chansons madécasses: A Lecture Recital, Together with Three Recitals of Selected Works of B. Britten, R. Schumann, S. Barber, T. Pasatieri, F. Poulenc, G. Verdi, T. Arne, and Others

Date: May 2004
Creator: Ellis, Diana Lea
Description: In his song cycle, Chansons madécasses (1926), a chamber work for voice, piano, flute, and cello, Maurice Ravel combines twentieth-century musical experimentation and exoticism with the late nineteenth-century style characteristics present in the vocal elements and instrumentation. Because early twentieth-century music appears to be closely connected to modern concerns, performers may tend to dismiss the style and technique of the early twentieth century as simply "old-fashioned" rather than examine and consider those elements as resources and valuable tools for interpreting and presenting authentic performances. The focus of this research includes a discussion of the historical, social, and textual implications of the music and poetry; a formal musical analysis of the work, including comparisons of an early twentieth-century, mid-century, and late twentieth-century recordings with regard to the use of vibrato and portamento in the voice, cello, and flute; and an examination of Chansons madécasses for elements of authentic Malagasy music and poetry. The paper also suggests methodologies for performance practice which reflect the results of these analyses. The beginnings of the rejection of traditional form - harmonic, rhythmic, and melodic structures - found in the early part of the century began to free composers and performers to explore musical presentations that ...
Contributing Partner: UNT Libraries
Carlo Milanuzzi's Quarto Scherzo and the Climate of Venetian Popular Music in the 1620s

Carlo Milanuzzi's Quarto Scherzo and the Climate of Venetian Popular Music in the 1620s

Date: August 2001
Creator: Gavito, Cory Michael
Description: Although music publishing in Italy was on the decline around the turn of the seventeenth century, Venice emerged as one of the most prolific publishing centers of secular song in Italy throughout the first three decades of the 1600s. Many Venetian song collections were printed with alfabeto, a chordal tablature designed to facilitate even the most untrained of musicians with the necessary tools for accompanying singers on the fashionable five-course Spanish guitar. Carlo Milanuzzi's Quarto Scherzo (1624) stands out among its contemporary Venetian song collections with alfabeto as an anthology of Venetian secular songs, including compositions by Miniscalchi, Berti, and Claudio and Francesco Monteverdi. Issues surrounding its publication, instrumentation, and musical and poetic style not only contribute to the understanding of Venetian Baroque monody, but also help to construe a repertory of vocal music with defining characteristics usually associated with popular music of the 19th, 20th, and 21st centuries.
Contributing Partner: UNT Libraries
Claude Bolling’s Toot Suite for Trumpet and Jazz Piano: a Performance Guide

Claude Bolling’s Toot Suite for Trumpet and Jazz Piano: a Performance Guide

Date: August 2012
Creator: Passley, Oscar O.
Description: Claude Bolling’s Toot Suite for Trumpet and Jazz Piano that was premiered by French virtuoso trumpeter Maurice Andre in 1980 is an important work in the trumpet repertoire. At present, there is limited research regarding Toot Suite. Almost all of the six movements within Toot Suite are performed on a different instrument: C trumpet for Allegre, Eb trumpet for Mystique, Bb cornet for Rag-Polka, Bb piccolo trumpet for Marche, Bb flugelhorn for Vesperale and Bb piccolo for Spirituelle. Chapter 1 examines the life and musical background of the composer. It also exposes the history surrounding the origin of Toot Suite. Chapter 2 discusses the musical influences of the composer that are found in Toot Suite. Chapter 3 provides an analysis of existing studio recordings. Chapter 4 offers specific suggestions regarding preparation and performance of Toot Suite. Chapters 5 and 6 conclude the guide with interviews with the composer and prominent trumpet performers and pedagogues that have recorded and/or have performed Toot Suite live.
Contributing Partner: UNT Libraries
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