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Hearing History: Musical Borrowing in the Percussion Ensemble Works, Duo Chopinesque and Chameleon Music

Description: Duo Chopinesque by Michael Hennagin and Chameleon Music by Dan Welcher represent two of the most significant percussion ensemble compositions written in the last twenty years. Both works are written for the mostly mallet type of percussion ensemble wherein the keyboard instruments predominate. However, the most unique aspect of these two pieces is their use of musical quotation. Duo Chopinesque borrows Chopin's Prelude in E minor in its entirety, while Chameleon Music borrows portions from four Mozart Sonatas. This paper places each work within the history of the percussion ensemble, and in the larger history of musical quotation in the twentieth century. In addition, the compositional characteristics of both works are examined with particular emphasis on each composer's use of borrowed material from the music of Mozart and Chopin. Particular attention is paid to the relationship between quoted material and newly composed rhythmic motives.
Date: December 1999
Creator: Fulton, Stephen L.
Partner: UNT Libraries

A Study of Franz Liszt's Concepts of Changing Tonality as Exemplified in Selected "Mephisto" Works

Description: The purpose of this study is to analyze four late solo piano works of Franz Liszt that all bear the name "Mephisto" in their titles, in order to examine, identify and trace the development in the use of harmonic and melodic idioms that produced non-tonal or "omnitonic" effects, on the one hand, and to emphasize the need to duly accord Liszt a recognition of historical position as the nineteenth century's most influential avant garde composer whose attitude and approach had helped to shape much of the ideal of the atonal composition of this century, on the other. Chapter One presents the issues and the purpose of this study; Chapter Two investigates the principal forces that shaped Liszt's mature compositional style; Chapter Three identifies and discusses the requisites for tonal and atonal compositions; Chapter Four analyzes the four "Mephisto" dances: Waltz no.1 (1860); Polka (1883); Waltz no.3 (1883); and Bagatelle (1885). Chapter Five summarizes the findings from this study and attempts to identify in these late works of Liszt a pattern of conscientious, continuous, purposeful and progressive use of devices toward creating musical effect that would defy the established tonal requisites and undermine the tonal orientation in the composition. This study submits that it was Liszt who had first shown a way to free music from the shackles of prescribed idiomatic constraints, and to force us the listeners to approach and appreciate music for its own sound's sake. Additionally, this study submits that this effort of Liszt should be understood and appreciated in terms of programmatic association; that is, Liszt found in the persona of Mephisto the Diablo the ideal imagery for depicting the nature of the "music of the future" where tonality would be freed from any prescribed procedural requisites.
Date: December 1999
Creator: Kim, Jung-Ah
Partner: UNT Libraries

Symmetrical Features of Nikolai Medtner's Language: The Grzovaya Sonata, Opus 53 No. 2

Description: Nikolai Medtner's works evidence an intense interest in symmetrical designs. This concern is manifest at all levels, from the large scale proportions of his numerous ingenious sonata forms to the symmetrically constructed themes and motives. Medtner's works include several instances of palindromic themes and periods. Some palindromic contours are achieved through immediate inversion, creating expansive, symmetrical waves. One of Medtner's thumbprints, symmetrical contrary voice-leading, consists of two or more voices which systematically expand or contract in exact mirror fashion. The contrary movement is usually stepwise, and may be either chromatic or diatonic. Occasionally even larger intervals, such as thirds and fourths, are subjected to this favourite mirroring technique. Such symmetrical expansion and contraction often controls the harmonic progression of several consecutive bars. One of the most striking aspects of Medtner's music is his sophisticated harmonic language. He was fascinated with symmetrical harmonic designs, such as the tritone, the French sixth chord, and the octatonic scale, and made endless and increasingly intricate explorations into these stuctures and the ways in which these apparently nontonal, non-hierarchical forms could be coordinated with the fundamental hierarchy of asymmetrical tonal forms, including triads, major and minor scales, and tonic-dominant relations. Medtner's late work, the Grozovaya Sonata, Opus 53 No.2, is the most concentrated and abstract of his works. The themes are built from highly lapidar motives, giving this work an intensely angular, rigorously mathematical character. All the symmetrical hallmarks of Medtner's language are in abundant evidence in this great work. Features include the extensive symmetrical mirroring of the opening section, frequent use of contrary voice leading as a generator of harmonic progression, and constant tritone shifting. Medtner also builds sequential chains based on two more symmetrical forms, the diminished seventh and the augmented triad. Finally, the design of this unique single movement sonata may be ...
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Date: December 1999
Creator: Pitts, James L.
Partner: UNT Libraries

An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others

Description: Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka's approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material.
Date: December 1999
Creator: Varner, Michael L.
Partner: UNT Libraries

Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble

Description: Reconstructions is a nine-movement composition for solo soprano, chorus, and wind ensemble using texts from several of Emily Dickinson's poems. The soloist represents the main character in this dramatic work, and the narrative structure portrays abstract moments in this character's life. While the narrative structure of the reconstructed fragments is important to the form of the composition, other elements are also significant. Pitch structures generated from set theoretical systems, in addition to cyclic and palindromic structures are utilized throughout. Timbre also delineates the form, as various combinations of instruments and chorus create an evolving environment in which the soloist resides.
Date: December 1999
Creator: Makela, Steven L.
Partner: UNT Libraries

An Analytical Study of the Variations on the Theme of Paganini's Twenty-Fourth Caprice, Op. 1 by Busoni, Friedman, and Muczynski

Description: The purpose of this study is to analyze sets of variations on Paganini's theme by three twentieth-century composers: Ferruccio Busoni, Ignaz Friedman, and Robert Muczynski, in order to examine, identify, and trace different variation techniques and their applications. Chapter 1 presents the purpose and scope of this study. Chapter 2 provides background information on the musical form "theme and variations" and the theme of Paganini's Twenty-fourth Caprice, Op. 1. Chapter 2 also deals with the question of which elements have made this theme so popular. Chapters 3,4, and 5 examine each of the three sets of variations in detail using the following format: theme, structure of each variation, harmony and key, rhythm and meter, tempo and dynamics, motivic development, grouping of variations, and technical problems. Chapter 6 summarizes the findings from this study and attempts to compare those elements among the three variations. Special attention is given to the application of the motivic cells, which are drawn from the original Paganini theme, in the development of succeeding variations. This study shows how these motivic cells contribute to the construction of new motives and melodies in each variation. Additionally, this study attempts to examine each composer's efforts in expanding variation procedure to the areas of structures and tempo markings in succeeding variations.
Date: May 2000
Creator: Ahn, Kwang Sun
Partner: UNT Libraries

Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others

Description: Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.
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Date: May 2000
Creator: Bogle, James Michael
Partner: UNT Libraries

Young-Jo Lee's Variations on the theme of Baugogae: In search of his own language, a lecture recital, together with three recitals of selected works of J. Haydn, S. Rachmaninoff, R. Schumann, O. Messiaen, and F. Liszt

Description: The objective of the dissertation is to examine Young-Jo Lee's (b. 1943) musical language as exhibited in his piano composition, Variations on the theme of Baugogae. Subjects of discussion include Lee's use of direct and indirect musical borrowings from past European composers and traditional Korean folk idioms. Also included are a biographical sketch of the composer and historical overview of modern Korean composers. This dissertation investigates Lee's effort to synthesize traditional Korean music and Western music in one art form and ultimately, to create his own musical language.
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Date: May 2000
Creator: Kwon, Suk-Rahn
Partner: UNT Libraries

New Resources in Twentieth-Century Piano Music and Richard Wilson's Eclogue (1974)

Description: This dissertation draws some of the innovative composers from the early 1900's to the 1960's into the spotlight to highlight their new musical and pianistic ideas. These composers, including Debussy, Schoenberg, Webern, Bartók, Cowell and others, brought new creative forces into piano music, generating many distinctive features of modern music. The discussion of new resources in harmonic language, timbre, texture, form and concept of time has a direct bearing on aspects of Richard Wilson's Eclogue itself as well as aspects of performance problems. American Composer, Richard Wilson, has written three substantial piano solo works, Eclogue, Fixations, and Intercalations. Eclogue, from 1974, is a one-movement work. The detailed analysis of Eclogue covers aspects of form, harmonic language, timbre and texture, and rhythm and time. In addition, essential issues of performance problems such as notation, rhythmic control, extended techniques, hands distribution, and pedaling are also discussed.
Date: August 2000
Creator: Lan, Ping-Ting
Partner: UNT Libraries

Light From Behind the Iron Curtain: Anti-Collectivist Style in Edison Denisov's Quatre Pièces pour flûte et piano, With Three Recitals of Selected Works by Bach, Beaser, Carter, Fauré, Martin, Ibert, Liebermann, and Others

Description: An examination of the compositional style illustrative of the anti-collectivist ideology as found in Edison Denisov's Quatre Pièces pour flûte et piano. Includes a short history of Denisov's formal training, history of the Soviet musical environment, an overview of his creative output, and discussion of the anti-collectivist characteristics in his works. Defines the anti-collectivist doctrine as individual reaction to the totalitarian collective of the Soviet communist state of the twentieth century. Identification of eclectic compositional techniques, and how they represent individual expression under a totalitarian regime. Listing of Denisov's works with the flute in a primary role, interviews with Aurèle Nicolet and Ekaterina Denisov, correspondence from Denisov to Nicolet, and the manuscript score to Quatre Pièces pour flûte et piano follow as appendices.
Date: August 2000
Creator: Luce, Brian Arzy
Partner: UNT Libraries

Jules Massenet's Musical Prosody Focusing on His Eight Song Cycles And A Collection, Expressions Lyriques: A Lecture Recital, Together with Recitals of Selected Works of W. A. Mozart, F. Schubert, C. Debussy, R. Strauss, D. Argento, V. Bellini, J. Marx, W. Walton, C. Gounod, A. Scarlatti, G. Fauré, J. Rodrigo, H. Wolf, and Others

Description: Jules Massenet's mélodies feature a distinct vocal treatment regarding musical prosody through his eight song cycles, including Poëme d'Avril, Poëme Pastoral, Poëme du Souvenir, Poëme d'Amour, Poëme d'Hiver, Poëme d'un Soir, and Quelques Chansons Mauves, and a collection, Expressions Lyriques. These mélodies show the influence of the trend of salon music and the high-level poetry from the poetic movements of romanticism, Parnassianism, and symbolism. This study deals with Massenet's mélodies relating to the prosody idea, which is conspicuous in his vocal treatment. His melodic styles feature four distinct aspects of vocal treatment including lyrical, recitative or parlando, melodramatic, and déclamation rhythmée, and represent the idea of musical prosody of phonetic, syntactic, and semantic aspects. Massenet's other musical idioms such as harmony, form, and piano treatment, are also closely related to the prosody matter as a semantic aspect, reinforcing the poetic mood and content. In this study, each melodic style related to French versification is examined in detail. The musical analysis regarding the other musical idioms on selected examples presents the semantic feature of prosody idea. The brief review of French versification and opinions regarding the performance are included. Massenet's contribution to the genre of mélodie, with the prose melody and treatment of piano as an equal partner of voice line, is clearly demonstrated. With this contribution, Massenet should be recognized as the most influential composer to the climatic time of French mélodie led by Fauré, and Debussy, and Duparc.
Date: December 2000
Creator: Chae, Eunhee
Partner: UNT Libraries

The Nightingale's Flight from Opera to Symphonic Poem: A Comparative Study of The Nightingale and The Song of the Nightingale by Igor Stravinsky

Description: An analysis of the transformation from Stravinsky's opera The Nightingale to The Song of the Nightingale, a symphonic poem by the same composer. The text includes a brief history of Stravinsky's life and the genesis of The Nightingale and The Song of the Nightingale. The bulk of the dissertation discusses actual changes employed by Stravinsky (with score examples). Patterns of modifications are identified and discussed as they relate to the composer's change of attitude in orchestration. The analysis focuses on overall patterns of alteration imposed by Stravinsky and their perceived effectiveness achieving a symphonic aural outcome.
Date: December 2000
Creator: Couturiaux, Clay
Partner: UNT Libraries

A Transcription of Op. 94 Morceau de Concert, by Camille Saint-Saëns For Solo Bass Trombone and Brass Ensemble

Description: The transcription is an addition to the repertoire for brass ensemble and bass trombone. Consideration is given to the nineteenth-century orchestration treatises of Berlioz and Strauss as well as the twentieth-century texts of Erik Leidzén, Walter Piston, and Samuel Adler. The transcription process is shaped by the principles of these writers. The score is contained in the appendix.
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Date: May 2001
Creator: Woods, Christopher P.
Partner: UNT Libraries

Alexander Johnson's Ni' Concerto (1994) - Concerto no. 1 for Piano and Orchestra: a Discussion of Influences from Africa, Eastern and Western Europe

Description: In the new generation of artists emerging in South Africa, Alexander Johnson is considered the most prolific young composer of his day. In a recent review in the Pretoria News, Johnson has been praised by eminent critic Paul Boekkooi as a composer who has “an ear for the exotic and knows exactly how to bring it off....” He continued by noting that his music is “mentally engrossing, pleasurable to the senses and seems refreshingly free from dogmatic formulas." Johnson writes for musicians and the general public to equal satisfaction. His accessible compositions and catching use of melodic materials have made his writings very popular both in South Africa and abroad. During his residency in Belgrade in 1993-94, Johnson met Croatian pianist Dorian Leljak. Impressed with Johnson's compositional ideas and output, Leljak commissioned a work from Johnson for piano and orchestra. The result was the Niš Concerto, which Johnson completed in April 1994. The world premiere took place on June 23, 1994 with the Niš Philharmonic Orchestra conducted by Anatoli Nowiestski with Dorian Leljak as soloist. The Niš Concerto received its South African premiere in 1995 during a simultaneous celebration for “Europe Day” and the new democracy of the Republic of South Africa. The Delegation of the European Commission of South Africa sponsored the celebration, which took place in the Aula Auditorium on the campus of the University of Pretoria. The performers included the Artium Symphony Orchestra, conducted by Dutch-born Prof. Henk Temmingh and Johnson himself as piano soloist.
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Date: August 2001
Creator: Malan, Petronel
Partner: UNT Libraries

The Songs of David Amram: A representative analysis and review of published vocal music for accompanied and unaccompanied voice

Description: David Werner Amram III, born in Philadelphia in 1930 is a celebrated American composer whose works have increasingly gained worldwide attention. His compositions embrace many genres including incidental music, film scores, symphonies, concertos, sonatas, instrumental trios, quartets, cantatas and operas as well as songs. One of Amram's earliest published songs, Pull My Daisy, is from his musical score for the experimental film of the same name. The song, text by Allen Ginsberg, Neal Cassady and Jack Kerouac, is set in a jazz style. Twelve of his songs, published in three collections are drawn either from his incidental music for Shakespeare plays or from his chamber opera, Twelfth Night. Another group written for baritone voice, wind and string quintets is entitled Three Songs for America. Trail of Beauty for mezzosoprano, oboe and orchestra contains four settings of Native American texts. The first chapter of this paper provides a biography of the composer. Succeeding chapters give some analysis of representative songs from each published group, background to their composition, texts, information from reviews where available, and the composers own comments from telephone interviews with the writer. An appendix contains brief illustrations of music from representative songs. It is observed that Amram's multifaceted musical interests have led him to write appealing and interesting music, both instrumental and vocal.
Date: August 2001
Creator: Bieritz, Gerald L.
Partner: UNT Libraries

Similarities in the Use of Dramatic Recitative Style in the Music of Claudio Monteverdi and Giuseppe Verdi, with Some Performance-Practice Issues

Description: The objective of this dissertation, inspired by performance experience, was to establish the similarities in the use of recitative style in the music of Claudio Monteverdi and Giuseppe Verdi. To achieve this objective, their use of recitative style was examined through comparative analysis of four scenes from their operas: “Arianna's Lament” from L'Arianna and “Disprezzata regina” from L'incoronazione di Poppea by Monteverdi, and “Condotta ell'era in ceppi” from Il trovatore and “Judgment Scene” from Aida by Verdi. The examination of the similarities included a discussion of the following: (a) the historical influences and cultural backgrounds of the composers; (b) general similarities in their compositional approaches to recitative style; (c) comparable characteristics of the dramatic recitative style in the early Baroque monody and in Verdi's operas; (d) similarities in musical characterization and expression of affective and emotional content through stylistic musical devices; (e) similarities in the composers' approaches to vocal and acting issues with special emphasis on the problems of diction; and (f) some related performance-practice issues. A discussion of the poetic lament and the influence of its form and content on musical setting was also a part of this research. The comparative research revealed numerous similarities in the historical circumstances influencing Monteverdi's and Verdi's choice of musical styles; their motivation; formal and stylistic characteristics of their dramatic recitative scenes; their choice of libretto; their use of the elements of lament; their musical treatment of emotional content of the text; and their prerogatives in vocal and acting issues. Numerous similar characteristics were also established regarding vibrato, tempo, rhythm, and ornamentation in the performance practice of the early Baroque recitative soliloquy and Verdi's dramatic recitative scenes. The similarities of the four scenes' functions, topics, form, and characterization through devices of musical style indicated a fundamental continuity in the development of Italian opera ...
Date: August 2001
Creator: Mihelcic, Sonja
Partner: UNT Libraries

Two selected works for solo trumpet commissioned by the International Trumpet Guild: A structural and performance analysis with a history of the commission project, with three recitals of selected works by Arutunian, Haydn, Fasch, Chaynes and others

Description: An historical overview of the ITG commission project is presented, as well an analysis of formal organization and significant features for two of the commissioned works: Sonata for Trumpet and Piano by Norman Dello Joio and Sonata for Trumpet and Piano by Eric Ewazen. Complete histories of all works and information concerning their premieres is chronicled. The degree of difficulty of each composition is assessed through an investigation of tessitura, range, melodic contour, endurance factors, articulation, fingerings, and technical features of the accompaniment (when applicable). Analysis of tempi and dynamics, articulation and phrasing, and timbral considerations provides additional points of study. The thirteen commissioned solo works from 1978 to 1993 are: Sonata for Trumpet and Piano by Norman Dello Joio, Concerto for Trumpet and Wind Orchestra by Bernhard Heiden, Laude by Stan Friedman, Concerto for Trumpet and Strings by Raymond Premru, Chamber Music VII: Ceremonies and Chamber Music VIII by Robert Suderburg, Sonata for Trumpet and Piano by Fisher Tull, Concerto for Trumpet and Orchestra by William Schmidt, Concerto for Trumpet and Wind Ensemble by Jan Bach, Arioso for Trumpet and Woodwind Quintet by Jerzy Sapieyevsky, Invocation of Orpheus by Robert X. Rodriguez, Triptych by David Sampson, and Sonata for Trumpet and Piano by Eric Ewazen. The importance of these works and their impact on the trumpet repertoire is assessed. Possible reasons for the acceptance of some of these works by trumpeters versus the lack of acceptance of the others are proposed. Through interviews with some of the composers, analyses of the compositions and a comparative survey of performance programs by members of the International Trumpet Guild, conclusions regarding the effectiveness of the commissioning project and its future are drawn.
Date: August 2001
Creator: Wurtz, Gary Thomas
Partner: UNT Libraries

Percussion scoring and orchestration in the wind and percussion ensemble literature of Jared Spears and David Gillingham

Description: While many composers of wind ensemble literature have utilized percussion extensively in their compositions, Jared Spears and David Gillingham are renowned wind ensemble composers who have also written specifically for the percussion ensemble. Within their writing, both have exploited percussion through innovative scorings and their interest in rhythm, timbre, and density. The purpose of this study is to explore the scoring practices (functions of the instruments and combinations) and orchestration techniques (rhythmic and density relationships) of both composers, focusing on the manner and extent to which percussion is employed in their wind and percussion ensemble literature. The criteria for examining each piece and genre were developed to compare and contrast each composer's scoring and orchestration characteristics. To this end, each piece and genre was examined through several scoring categories designed to analyze overall ensemble relationships as well as individual functions of the percussion instruments. These categories were also applied to sections of music, focusing specifically on combinations of instruments and the relationship of ensemble choirs in separate and combined roles. Finally, percussion orchestration was examined with respect to motives, rhythmic underpinnings, metric usage, density relationships, and the significance of these elements to structural unity and form. These comparisons showed that, while sharing certain characteristics, each composer treats percussion scoring and orchestration in different manners, displaying "signature" aspects that make his writing unique. The application of these shared and individual traits, and the extent to which they are employed, define each composer's distinctive style.
Date: August 2001
Creator: White, Marc M.
Partner: UNT Libraries

Selected Songs for Chamber Winds and Soprano: Rediscovering a Forgotten Repertoire of John Philip Sousa

Description: For over one hundred years, the music-going public has reflected on the life and influence of America's “March King,” John Philip Sousa. His popularity as a bandleader was unprecedented, and his reputation as an entertainer captivated the imagination and intrigue of a nation. Sousa's fame was attained through the high standards showcased by his unparalleled concert organization, the Sousa Band. He is interminably linked to the march, and for his seventy-seven years he proved to be its prolific and outspoken champion. Sousa's songs, however, were among his favorite works, and their presence on concert programs reinforced a variety of programming that was the hallmark of his success. The Sousa Band served as a cultural and musical ambassador, and annual transcontinental tours brought music to people where they lived. Sousa's songs were highly anticipated concert features, and were presented by soprano soloists known as the “Ladies in White.” A chamber winds instrumentation, rather than employment of the full-forces of the Sousa Band, allowed for an appropriate musical balance between instruments and voice. The “Forgotten Songs of John Philip Sousa Project” involved the research, editing, and performance of songs housed in the Sousa Archives for Band Research at the University of Illinois. Three songs discussed in this study, “Maid of the Meadow,” “The Snow Baby” from The Bride Elect, and “I've Made My Plans for the Summer” have been edited and performed in their intended setting for chamber winds and soprano. The songs in the Sousa collection resonate with a quintessential essence that recalls an American spirit and artistry that are closely linked with John Philip Sousa and his legendary band.
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Date: December 2001
Creator: Hemberger, Glen J.
Partner: UNT Libraries

Form and Lyricism as Elements of Neo-Romanticism in Summer Music Op. 31 by Samuel Barber (1957) with three recitals of selected works by Bach, Mozart, Hindemith, Handel, Gaubert, and others

Description: The music of Samuel Barber is well known in the vocal, piano, and string literature; however, little of his chamber music involves woodwinds, and in particular, only one work involves the woodwind quintet. Summer Music, originally commissioned as a septet, developed after the premiere of the work into the woodwind quintet version, with the assistance of the New York Woodwind Quintet. Barber is considered a contemporary .romantic. composer, evidenced through his use of lyricism. Summer Music, a standard in the woodwind quintet literature, should be included in every professional flutist's repertoire. The intent of this dissertation is to consider Barber's use of lyricism as a determinant of the form of Summer Music, as well as to compare the differences between the manuscript and the published edition.
Date: December 2001
Creator: Grosklos, Hollie Jo
Partner: UNT Libraries

The Musical Language of Joan Tower: An Energy Line Analysis of Island Prelude for Oboe and Wind Quartet

Description: This dissertation provides an analysis of Island Prelude based on a method of analysis prescribed by the composer. The method, Energy Line Analysis, is essential to an enlightened performance. The content of this dissertation includes: biographical information, compositional influences, Joan Tower style periods, her works involving the oboe in a major role, and an Energy Line Analysis chart of Island Prelude. Island Prelude represents Joan Tower's musical language, the understanding of which is essential in an interpretation of her music.
Date: December 2001
Creator: Shouha, Laura
Partner: UNT Libraries

A Performer's Analysis of Lili Boulanger's Clairières dans le ciel: Song Cycle for High Voice and Piano; a Lecture Recital Together with the Role of Blanche in Dialogues of the Carmelites by F. Poulenc and Two Recitals of Selected Works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W. A. Mozart, R. Schumann and G. Fauré

Description: Lili Boulanger was an important composer of early twentieth century French music. Her compositional style represents a development and mastery of musical techniques of the great composers of her time including Fauré, Debussy and Wagner combined with her own creative expression. The result is a compelling musical language that was uniquely her own. She held an important place among her contemporaries in Paris and her accomplishments were considered newsworthy during her lifetime (1893- 1918). She obtained a much sought-after publishing contract with Ricordi. Her more famous sister, Nadia Boulanger, felt that Lili was the better composer of the two, and her peers and music professors clearly felt that both her musical and personal qualities were extraordinary. Evidence of her intelligence, creativity, and artistic growth can be seen in her music. As the first woman to win the Prix de Rome (July 5, 1913), Lili Boulanger, unlike Clara Schumann, Fanny Mendelssohn, or Alma Mahler, was acknowledged and acclaimed during her lifetime for her skill as a composer. Yet, nearly a century later the music of this talented French composer is not as well known as it deserves to be. In an effort to discover the reasons for this relative anonymity, this document will examine Lili Boulanger's life including her family and childhood influences, musical training, preparation for the Prix de Rome and the influence of Claude Debussy and other composers. This document will discuss her mature compositional style, specifically as it is reflected in her song cycle, Clairières dans le ciel. The text will be examined in conjunction with the literary movement of symbolism in 20th century France and the symbolist poet, Francis Jammes, with special attention to the composer's personal identification with the poetry. Considerations of the musical setting of the cycle will include the melodic style as it relates ...
Date: December 2001
Creator: Williamson, Deborah
Partner: UNT Libraries

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

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 they were playing. The aim of this study is to provide a stylistic analysis of Reissiger's five works for clarinet, including a discussion of form, melody, harmony, and rhythm. This document puts forth the proposal that these works are worth resurrecting and that Reissiger, as a composer of clarinet music, is more than just a secondary composer.
Date: May 2002
Creator: Coltman, Charles Arthur
Partner: UNT Libraries

Sonata for Piano (1963) by Sergei Michailovich Slonimsky: Musical Analysis and Discussion on Interpretation and Performance

Description: The essay begins with the overview of Russian-Soviet piano music from the second half of the 19th century to the end of the 20th century. Then, biographical information about Sergei Slonimsky and an overview of his major compositions is provided. The majority of the paper focuses on Slonimsky's Sonata for Piano (1963). A brief discussion of the Sonata's compositional history is followed by the formal analysis of the overall structure of the work. Slonimsky's original principle of organization of the music is emphasized: the system of constant interrelation of the main thematic material combined with elements of the sonata-allegro form. In the analysis of the harmonic language of the piece, the composer's extensive use of Russian folk elements such as diatonic melodies, sigh motives, parallel triads, and simultaneous use of the lower third with the major triad is pointed out. The rest of the paper focuses on issues of interpretation and performance. Special notice is given to the problem of incorporating a percussive type of playing with the elements of folk cantilena singing. The paper concludes with the history of Sonata's performances and a discussion of current recordings.
Date: May 2002
Creator: Fitenko, Nikita
Partner: UNT Libraries