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The British Museum Manuscript Additional 35087: A Transcription of the French, Italian, and Latin Compositions with Concordance and Commentary

Description: The London British Museum Manuscript Additional 35087, hereafter referred to as London Add. 35087, is an important parchment manuscript in large octavo choirbook arrangement from the beginning of the sixteenth century. Its measurements are 19.4 x 29.3 centimeters. The manuscript contains ninety-five folios and one stub where a leaf has been torn out (f. 4).1 The last composition in the manuscript is incomplete, which indicates that one leaf is lacking at the end (f. 96). Two sets of foliation are shown: the original Roman and a more recent Arabic. Both are placed in the upper right hand corner of folio recto. The sets agree in folios 4-93. Folios 1 and 2 show no Roman figures now; folio 3 has "ii," and therefore the missing leaf probably had "iii." The Arabic numbering does not account for this missing leaf. This folio might have been assigned "4," but this number is given on the next complete leaf to coincide with the Roman "iiii." At the end, by mistake, folio 94 has "xciii" and folio 95 has "xciiii."
Date: August 1967
Creator: McMurtry, William M.
Partner: UNT Libraries

Chopin's Mazurka: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, F. Busoni, D. Scarlatti, W.A. Mozart, L.V. Beethoven, F. Schubert, F. Chopin, M. Ravel and K. Szymanowski

Description: This dissertation consists of four programs: one lecture- recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the performer to project music of various types and composed in different periods.
Date: August 1969
Creator: Drath, Jan
Partner: UNT Libraries

Circumfusion: a Composition for Real-Time Computer Music Spatialization System

Description: Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation. The present research details the development of a compact spatialization system using a MAX patch controlling a Kurzweil K2500 sampler. This system supports real-time diffusion of up to six simultaneous sound files over eight loudspeakers while incorporating intensity panning, Doppler shifts, delays and filtering. The MAX patch allows composers to choose from several automatic sound spatialization trajectories or to use the mouse to draw and store their own trajectories for later playback. The piece, Circumfusion, is an eighteen-minute composition of electroacoustic music utilizing this spatialization system.
Date: August 1998
Creator: Morgan, Christopher R. (Christopher Robert)
Partner: UNT Libraries

Computer Simulacra

Description: Computer Simulacra is a musical work composed for amplified instrumental ensemble and computer instruments on tape. It is a computer-assisted work, composed with the help of a stochastic compositional algorithm, called PTERIO, designed by the composer.
Date: December 1989
Creator: Phelps, James D. (James Dee)
Partner: UNT Libraries

Contemporary Swedish Music for Solo Trumpet and Trumpet in Mixed Chamber Ensembles with a Performance Analysis of Selected Works of Bo Nilsson, Folke Rabe, and Tommy Zwedberg

Description: This study discusses how cultural and social aspects of contemporary Swedish society impact the musical arts. It contains biographical information on representative Swedish composers, and analyzes technical and structural elements of their compositional styles. Finally, it recommends performance practice considerations regarding technical and interpretive details in Tommy Zwedberg's Face the Music for trumpet and prepared audio tape, Folke Habe's Shazam for unaccompanied trumpet, and Bo Nilsson's Infrastruktur for brass quintet.
Date: August 1991
Creator: Engstrom, Larry M. (Larry Milton)
Partner: UNT Libraries

Evolution of the Role of the Solo Trombone in the Nineteenth and Twentieth Centuries: A Lecture Recital Together with Three Recitals of Selected Works of Frescobaldi, White, Druckman, Jones, Blaecher, Ott, and Others

Description: The evolution of the role of the trombone as a solo instrument in the nineteenth and twentieth centuries can be traced most effectively through four schools of playing, with the music of today's avant-garde being a logical historical culmination of these four schools. It will be demons t rated that the avant-garde's use of the solo trombone has merely continued the evolutionary process started in the early nineteenth century. The contribution of the early nineteenth-century virtuosi was the establishment of the idea that the trombone could compete on its own terms with other instruments as a solo instrument. In addition to expanding the technical capabilities, they also left a basic solo repertoire. With the death of the virtuosi the trombone as a solo instrument went into a decline. For the remainder of the nineteenth century and well into the twentieth century the Paris Conservatoire was influential. Standards of solo performance were brought to new heights by excellent study material and contest solos. The next important step came from the late nineteenth-century American band virtuosi. Their influence helped the public to accept the idea of the trombone as a solo instrument. The American jazz trombonists of the 1930's and 1940's also further widened the technical capabilities of the trombone and also further encouraged acceptance of the Instrument in its solo capacity. However, their most important contribution was in new tonal colors. The music of the avant-garde takes all these previous historical achievements and makes use of them in its own unique way.
Date: May 1974
Creator: Hinterbichler, Karl George
Partner: UNT Libraries

Evolution, Symmetrization, and Synthesis : The Piano Sonatas of Alberto Ginastera

Description: When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982). The second means of evolution from sonata to sonata is through a process of symmetrization. Along with constructions using symmetrical scales, material in each of the three sonatas is subjected to various symmetrical procedures which correspond musically to basic geometric symmetry types or operations (bilateral, rotational, and translatory, for instance). The decreasing number of movements evidences a negative dilatation of material, moving from four movements in the first sonata to three in the second, to one in the third. In each case, corresponding material from the previous sonata is integrated into the following sonata. Both independently and as a group the three piano sonatas exhibit "invariance under a transformation."
Date: August 1991
Creator: Campbell, Grace M.
Partner: UNT Libraries

Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, Manuscript Basevi 2439: Critical Edition and Commentary

Description: The subject of the present study, Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, MS Basevi 2439, abbreviated Florence 2439,1 contains secular and sacred vocal music of the late fifteenth and early sixteenth centuries, with texts in French, Dutch, Italian, and Latin.
Date: June 1968
Creator: Newton, Paul George, 1930-
Partner: UNT Libraries

Helen Kotas (1916-200): A Female Pioneer in Major US Orchestras

Description: Helen Kotas was an accomplished musician and teacher who helped open the door for women in major US orchestras. In 1941 the Chicago Symphony hired its first female brass musician, principal hornist Helen Kotas. With that daring move, she became a pioneer for her gender in the major orchestras of North America. Despite her many contributions to the musical community, Kotas's life has not been researched and documented. This paper looks at Helen Kotas's career as well as a glimpse at her life and personality. In addition to documenting her life, this dissertation attempts to show at least a portion of Kotas's philosophy of teaching and horn playing. She was an accomplished horn soloist and studied the literature extensively. Kotas performed in the Chicago Civic Orchestra, the Woman's Symphony Orchestra, and Leopold Stokowski's All-American Youth Orchestra. Kotas was hired by Fritz Reiner as third horn of the Pittsburgh Symphony. When Frederick Stock, conductor of the Chicago Symphony Orchestra, heard that Helen Kotas was going to Pittsburgh, he insisted that she audition for the CSO. Kotas auditioned on the Concerto for Horn by Richard Strauss and the concertmaster said, "Hire her!" She performed as principal horn with the orchestra until Artur Rodzinski was hired as conductor in 1948 and replaced Kotas with Philip Farkas. Following her time with the CSO, Kotas was principal horn of the Chicago Lyric Opera and taught at the Sherwood and American Conservatories. She was an active soloist and premiered works by Arne Oldberg and Hugo Kauder.
Date: May 2011
Creator: Thayer, Heather Leweise
Partner: UNT Libraries

The Influence of Jazz on French Solo Trombone Repertory

Description: This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.
Date: May 1987
Creator: Samball, Michael L. (Michael Loran)
Partner: UNT Libraries

Jindrich Feld's Introduzione, Toccata E Fuga Per Flauto Solo With Three Recitals of Selected Works of J.S. Bach, Mozart, Messiaen, Berio, Martinu, Persichetti, and Others

Description: The Czechoslovakian composer Jindrich Feld (b.1925) composed Introduzione, Toccata e Fuga per Flauto Solo, for the Italian flutist Roberto Frabbriciani. Feld's Introduzione is from his third style period. This work may be labeled as a synthesis of the experiments and experiences that have enabled him to create his own mature style of expression.
Date: May 1992
Creator: Derby McDermott, Dennette
Partner: UNT Libraries

Jonah's Prayer: a Composition for Solo Tenor, Mixed Chorus and Two Pianos

Description: Jonah's Prayer is a choral work for solo tenor, a mixed choir of not fewer than 30 members, two pianos and a few percussion instruments to be played by choir members. The piece lasts about 13 minutes; it is a work intended for church choir use but could be performed in other venues as well.
Date: December 1998
Creator: Au, Siu-ming Stefan
Partner: UNT Libraries

The Life and Music of Jacques-Christophe Naudot

Description: Favorable judgment of a work of art, or of a man, usually means that the work of art, or a record of the man, will be preserved for future generations to judge for themselves. An unfavorable judgment may result in a richly deserved obscurity or an irreplaceable loss, unless favorable circumstances combine to preserve the evidence for a more perspicacious generation. One can be forgiven if he distrusts history's judgment; mistakes which have been corrected are legion (the case of J. S. Bach comes most vividly to mind) and skepticism is warranted unless or until the facts are available for confirmation. It is difficult to explain the paucity of information about Jacques-Christophe Naudot, Not that he is another J. S. Bach; neither Fleury, who made the first serious effort to revive interest in his music in the early 1920's, nor Ruf, who has done much in this regard recently, nor this writer makes any such claim. He does not, however, deserve the obscurity that has been his lot. If his music is not always profound, it nevertheless has both intrinsic and historical value, and some of his works reveal considerable contrapuntal skill. It may be that Naudot stood in the shadow of Blavet, whose prowess as a flutist bolstered his reputation as a composer, or that his music was never quite the right style for the time; in any case, although his name was not unknown, he never gained the fame that earned a contemporary biographer. As a result, no autographs and very little biographical data have been found, although one or more printed copies of all his known works, except two, are to be found in various libraries, principally the Bibliotheque National in Paris.
Date: June 1970
Creator: Underwood, T. Jervis (Troy Jervis), 1932-
Partner: UNT Libraries

Music and its Relation to Futurism, Cubism, Dadaism, and Surrealism, 1905 to 1950

Description: Inasmuch as this investigator can determine, no major study has been done concerning music's relation to the "isms" selected for this discussion. The contemporary interest in the movements themselves has been so widespread that the documentation of them, in scattered accounts, is enormous. It is disappointing that these records provide little or no information about the musical aspects of the movements; the graphic and literary accounts, on the other hand, have been accorded generous treatments. Since futurism, cubism, and surrealism, in their origins, were oriented toward the visual and literary arts, it is not surprising that these two aspects would receive the greatest amount of attention. The meager attention to music and the distortion of its role in the movements, as has largely been the case, has created an artistic imbalance, This writer's efforts have been directed toward an exhaustive search for factors which have, in some way or other, linked music with these movements. Musical futurism has been the easiest to identify, although its underlying theories are not always clear, since the futurists, in explaining their theories, were not always convincing, perhaps even to themselves. This writer's main attempt has been to interpret ideas that were frequently vague and poorly explained to begin with. It will become evident to the reader, in the case of the dadaists, and to some extent the surrealists, the provocative nature of their activities was deliberately designed to create incomprehension, incoherency, and confusion.
Date: January 1969
Creator: Greer, Thomas H. (Thomas Henry), 1916-
Partner: UNT Libraries

The Offstage Effect: An Historical and Stylistic Perspective with Performance Considerations for Trumpet

Description: The present study does not attempt to present a complete or exhaustive survey of the myriad spatial orchestrational devices occurring in the symphonic and operatic repertoire. Rather, the study is limited to an examination of the specified use of the trumpet as an offstage instrument in selected representative works. The study's purpose is to identify trends in the use of this orchestrational device, to serve as an aid to the trumpeter in matters of interpretation, and to provide a practical reference for the solution of acoustical and technical problems common to the performance of spatially conceived music in the orchestral literature.
Date: December 1991
Creator: Trout, Marion T. (Marion Thomas)
Partner: UNT Libraries

Parallels in the Development of Electronic and Percussion Music and an Examination of Performance Problems in Lejaren Hiller's Machine Music for Piano, Percussion and Two-Channel Tape Recorder with Three Recitals of Selected Works of Rolnick, Kessner, Xenakis, Winsor, Niimi, and Others

Description: This study traces the significant developments in the late nineteenth and early twentieth centuries which led to the development of electronic music and increased writing for percussion. Whether by coincidence or premeditation, the field of percussion in Western culture and electronic music share many parallel aspects in their history. Carlos Chavez, Edgard Varese and John Cage foresaw a time when electronic music would allow composers to realize compositions with ease, provide new sounds to the spectrum of possible material for pieces and aid in the conception of works. Significantly, these same composers were important figures in the development of percussion composition. In many ways, Lejaren Hiller's Machine Music can be seen as a culmination of the developments which had been taking place in the history of electronic music and percussion music. A product of the innovations in both fields, it poses some formidable problems for the performers. This study will give some background into its composition, examine its structure and deal with its performance problems.
Date: May 1992
Creator: Smith, Jeffrey B., 1957-
Partner: UNT Libraries

A Schenkerian Analysis of Beethoven's E Minor Piano Sonata, Opus 90

Description: This thesis examines the history and origins of Beethoven's E minor Piano Sonata and examines the possibility of the programmatic conception of the work. Dedicated to Beethoven's friend Count Moritz Lichnowsky, the sonata may have been inspired by the Count's illicit affair with his future wife, the singer and actress Josefa Stummer. Providing a thorough Schenkerian analysis of both movements, the inner harmonic structure of the composition is revealed and explained. The author also investigates and details the unpublished original analyses of the composition by Heinrich Schenker, Erika Elias, and Hans Weisse. Both English and German language sources are incorporated into a comprehensive examination of Beethoven's Piano Sonata, op. 90.
Date: May 2010
Creator: Treber, Stefan L.
Partner: UNT Libraries

The Serenades and Divertimenti of Mozart

Description: This study has two divisions: Part I, an historical and analytical summary of the emergence and development of the divertimento and the serenade in the eighteenth century, and Part II, the culmination of these structures in the works of W. A. Mozart. Two primary purposes are envisioned: 1) to further our knowledge of how German Gesellshafts-musik evolved toward its peak in the second half of the eighteenth century, and 2) to furnish a useful analytical handbook of Mozart's works in these genres.
Date: June 1960
Creator: Gibson, O. Lee (Oscar Lee)
Partner: UNT Libraries

The Solo Piano Works of John Corigliano: Etude Fantasy (1976) and Fantasia on an Ostinato (1985)

Description: John Corigliano (b. 1938) is a contemporary American composer who has in the last twenty years established himself as a composer whose versatility and accessibility are appreciated by a wide range of audiences. He has labeled himself an eclectic composer who unashamedly borrows from other musical styles and periods in an effort to create works that appeal to a variety of listeners. He has been mentioned along with George Rochberg, George Crumb, and Jacob Druckman as an advocate of the post-modern movement in contemporary American music, a trend that has been crucial to the development of contemporary concert music. The purpose of this study is to examine the two solo piano works of Corigliano in terms of style, structure, and musical influences. The Etude Fani-agy (197 6) is a set of five etudes, performed without pause. The etudes are unified through an elaborate use of thematic transformation in which a row-like idea generates most of the material. The keyboard writing is varied and dramatic, with similarities to Debussy, Bartok, Prokofiev, and Copland. Fantasia on an Qstinato (1985), commissioned for the van Cliburn International Piano Competition, is an atmospheric tone poem that transforms the theme from Beethoven's Symphony no« 7 (second movement) . The rhythmic and harmonic structure of this theme are retained through much of Corigliano's work. Full quotations and fragments of the symphony are combined with newly-composed material influenced by Beethoven's theme. Influence of minimalist techniques associated with Terry Riley, Steve Reich, and Philip Glass is apparent throughout the work; rhythmic phasing, repetitive patterns, and musical stasis are used extensively in the second section. A comparison of the Etude Fantasy and Fantasia nn an OstinatQ confirms the eclectic characteristics of Corigliano's style. In both works, the composer borrows freely from a variety of musical traditions, combining and modifying traditional ...
Date: August 1990
Creator: Simms, Beverley
Partner: UNT Libraries

Solo Trombone Performances at the Gewandhaus in the Nineteenth Century: a Lecture Recital, Together with Three Recitals of Selected Works of G. Jacobs, S. Sulek, E. Bloch, C. Wagenseil, W. Ross, G. Pergolesi, T. George, F. Hidas, J. Albrechtsberger and Others

Description: This study investigates and documents tenor/bass trombone solo performances at the Gewandhaus, Leipzig, East Germany, between 1821 and 1876. Included is the discussion of a newly discovered composition, the Concertino fur Bassposaune und Orchester, by Carl Heinrlch Meyer, which is the earliest concerto for the tenor/bass trombone. Its performance at the Gewandhaus in 1821 marked the beginning of the solo tradition for the tenor/bass trombone, and the Leipzig Gewandhaus became one of the leading centers of solo trombone performance for the next fifty years. The study includes background information on the rise of the virtuoso soloist in nineteenth-century Germany. It specifically focuses on Friedrlch August Belcke and Carl Traugott Queisser and their performances at the Gewandhaus. All solo trombone performances at the Gewandhaus in the nineteenth century have been documented, and specific information has been provided regarding the soloists, dates of performances and repertoire performed on the concerts. The paper includes a discussion of performance reviews from the Allgemeine Musfkalische Zeitung. The conclusion discusses the importance of solo trombone performance at the Gewandhaus, and the reason for its sudden decline after 1876.
Date: May 1989
Creator: Lewis, Michael E. (Michael Edward), 1952-
Partner: UNT Libraries

Structure and Form in Two Late Works for Flute and Orchestra by Ernest Bloch (1880-1959): Suite Modale (1956) and Two Last Poems (Maybe. . .) (1958) -- a Lecture Recital, Together With Three Recitals of Selected Works of J.S. Bach, Jolivet, Mozart,and Others

Description: The lecture was presented on November 18, 1991. This presentation focused on the only two compositions for solo flute and orchestra by Ernest Bloch. Written during the last three years of the composer's life, the pieces are representative of his last style period. While Suite Modale is neobaroque in style, Two Last Poems is much more subjective. Together they represent a synthesis of many of the stylistic characteristics of Ernest Bloch. The musical parameters discussed included form, melody, texture, rhythm, harmony, and expressive devices.
Date: May 1992
Creator: Stirzaker, Kim E. (Kim Elizabeth)
Partner: UNT Libraries

A Study of Idiomatic Piano Compositions During the Cultural Revolution in the People's Republic of China

Description: This study demonstrated that the piano, a typical Western instrument, became the Chinese composer's tool for expressing the sound ideals and tone qualities that are intrinsic to Chinese music. A new musical idiom was created in these piano compositions, an idiom that combined Western compositional techniques and traditionally-based Chinese ideals.
Date: August 1991
Creator: Fan-Long, Grace (Chun Grace)
Partner: UNT Libraries