Alfredo Casella's Serenata, op. 46, A Performance Guide for the Ensemble and Trumpet Part

Alfredo Casella's Serenata, op. 46, A Performance Guide for the Ensemble and Trumpet Part

Date: May 2011
Creator: Walker, Brian Matthew
Description: Alfredo Casella's Serenata, op. 46 for clarinet, bassoon, trumpet, violin and cello is a composition that received great acclaim at the time of its conception, it is all but unknown to modern audiences and performers. The Serenata has several historical influences from the French and Italian Baroque and Classical periods. At present, there is limited scholarship regarding the Serenata op. 46. The first section of this study presents a survey of historical information, current literature and methods of examination. The second section compares movements of the Serenata op. 46 to other historical forms of similar design. The third section provides a performance guide for the trumpeter and ensemble. Implications and suggestions for performance of the composition are provided for the trumpeter. This performance guide provides the trumpeter and ensemble with performance information to help facilitate an informed performance.
Contributing Partner: UNT Libraries
The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus

The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus

Date: August 2003
Creator: Gutierrez, Jason
Description: The Prayer of Daniel is a chamber piece in the style of an oratorio for vocal bass-baritone soloist, flute doubling on alto flute, B flat clarinet doubling on bass clarinet, violin, cello, piano, percussion on vibraphone and marimba, doumbek (a middle eastern drum), and men's chorus (TTBB). The approximate duration is thirty minutes. The text comes from the Old Testament book of Daniel, Chapter 9 verses 4 through 19. In these passages the prophet Daniel rends from his heart a prayer of repentance, mercy and forgiveness on the behalf of a fallen nation. The harmonic language of the composition combines both classical contemporary and jazz sonorities. The rhythmic language is drawn from the meter of the text, and is used to underscore the emotion of the prayer. These elements combine to form a rich music experience that conveys the penitent heart of the prophet Daniel.
Contributing Partner: UNT Libraries
William Bolcom's Sonata for Violoncello and Piano (1989)

William Bolcom's Sonata for Violoncello and Piano (1989)

Access: Use of this item is restricted to the UNT Community.
Date: August 2003
Creator: Janssen, Tido
Description: Composer William Bolcom (1938-) has shown a remarkable capacity for incorporating disparate materials and combining them to create original compositions, while often using traditional genres and forms. This style has earned Bolcom the reputation as a leading composer of American postmodernism. This study provides a brief sketch of Bolcom's development as a postmodern composer, his repertoire for violoncello and piano, and it examines his compositional style as applied in his Sonata for Violoncello and Piano (1989). In the Sonata Bolcom applies a wide variety of musical vocabulary from serious and popular traditions. He juxtaposes contrasting ideas to create and resolve rhythmic, melodic and harmonic tensions and amalgamates concepts of three centuries of music history into one new integral work. All these disparate elements with classical, romantic, impressionist, expressionist, modernist and popular connotations are molded together to form a serious piece of musi c with a sense of humor. The three contrasting movements of the Sonata share many common rhythmic, melodic and harmonic traits. The movements form a congruent work of Classical and Romantic spirit, often reminiscent of Brahms' music, despite the mixed use of traditional, popular, and modernist musical languages.
Contributing Partner: UNT Libraries
Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis

Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis

Date: May 2009
Creator: Gedosh, David
Description: Augeries is a multi-channel electro-acoustic composition for flute, clarinet, percussion, and tape. It is intended to be diffused through an 8-channnel playback system. Inspired by the first four lines of William Blake's Augeries of Innocence, Augeries captures the qualitative aspects of Blake's poetry by presenting the listener with an equally aperspectival aesthetic experience. The small-scale structure reflected on the large-scale form - the infusion of vastness and expansiveness into the fragile and minute. Augeries incorporates techniques of expansion and contraction, metonymic relationships, dilation and infolding of time, and structured improvisation to create an experience that is designed to explore the notion of musical time, and to bring to the listener the sense of time freedom. The critical analysis suggests that the increase in the notions of musical time, the aesthetics with which they conform, and the new time forms created, encapsulate communicative significance. This significance exists within a horizon of meaning. Semiotics illuminates an understanding of the structuring techniques used to render time as an area of artistic play. Understanding the aesthetics and mechanisms through which these techniques can be used constitutes a shared horizon of meaning. The concepts of cultural phenomenologist Jean Gebser, as explicated in The Ever-Present Origin, ...
Contributing Partner: UNT Libraries
Faculty, Student and Guest Artist Recital: 2012-01-31 - Linda Di Fiore, mezzo-soprano and Jennifer Glidden, soprano and Kyle Siddons, baritone and Mark Miller, violin and Ute Miller, viola and Carol Harlos, cello and Ed Smith, vibraphone

Faculty, Student and Guest Artist Recital: 2012-01-31 - Linda Di Fiore, mezzo-soprano and Jennifer Glidden, soprano and Kyle Siddons, baritone and Mark Miller, violin and Ute Miller, viola and Carol Harlos, cello and Ed Smith, vibraphone

Access: Use of this item is restricted to the UNT Community.
Date: January 31, 2012
Creator: Di Fiore, Linda; Glidden, Jennifer; Siddons, Kyle; Miller Mark; Miller, Ute; Harlos, Carol et al.
Description: A faculty and guest artist recital performed at the UNT College of Music in Voertman Hall.
Contributing Partner: UNT Music Library
Three Pieces for Musicians and Computer:  Rameaux, Nature Morte, Moiré.

Three Pieces for Musicians and Computer: Rameaux, Nature Morte, Moiré.

Date: December 2008
Creator: Welch, Chapman
Description: Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics in Rameaux and Nature Morte and an acoustic quintet (flute, viola, percussion, piano and harp) in Moiré. These additions reframe the original works by introducing new harmonic, timbral, and formal connections and possibilities. The compositional process of Three Pieces relies on the notion of Germinal Elements, which are defined as the set of limited, distinct, and indivisible materials used in the creation of the work. Though Germinal Elements are indivisible, they undergo a type of developmental process through expansion and contraction, which is an increase or a decrease in the range or scope of any musical parameter (time, pitch, density, dynamic, duration, etc.) or set of parameters. Analysis of this cycle ...
Contributing Partner: UNT Libraries
An Examination of the Percussion Writing in the Chamber Works of George Crumb, 1960-1980 with Three Recitals of Selected Works of Bergsma, Kurka, Miyoshi, Niimi, Takemitsu, and Others

An Examination of the Percussion Writing in the Chamber Works of George Crumb, 1960-1980 with Three Recitals of Selected Works of Bergsma, Kurka, Miyoshi, Niimi, Takemitsu, and Others

Date: August 1993
Creator: LedBetter, Robert B.
Description: In this study, the unique style of percussion writing in the chamber works of George Crumb, written between 1960 and 1980, is examined. The principal aspects examined within this study include: the extended instrumental techniques, the use of percussion within the musical imagery, soloistic treatment, compositional and notational procedures, and specific performance problems pertaining to the chamber work Songs, Drones, and Refrains of Death.
Contributing Partner: UNT Libraries
Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet

Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet

Date: December 1997
Creator: Walzel, Robert L.
Description: The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 1923-40 during his residency in Paris, 1941-56 during his residency in the United States, and 1957 until his death in 1959 when he returned permanently to Europe.
Contributing Partner: UNT Libraries