UNT Theses and Dissertations - 41 Matching Results

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Tonal Perspectives in the Selected Piano Preludes of Shostakovich (Op.34: nos.1, 3, 6, 14, and 24): an Analytical Study

Description: This study is an investigation of tonal structures in selected preludes of Shostakovich's Op.34. Explanations and analytic perspectives provide support of tonality oriented interpretation for the compositions which often appear to be "atonal." Chapter One is divided into (1) historical perspectives of the prelude as form, and (2) Summary of Shostakovich's life and work. Chapter Two contains a historical background of (1) the development of Shostakovich's compositional styles, emphasizing his early style of piano composition, and (2) the impact of his "Lady Macbeth," the crisis and its influence on later works. Chapter Three deals with the problems of and analytical approaches in the study of the selected preludes.
Date: August 1994
Creator: Lee, Tze Fung Alfred
Partner: UNT Libraries

A Survey of the Influence of Heinrich Schenker on American Music Theory and Its Pedagogy Since 1940

Description: This study investigates the influence of the Austrian music theorist Heinrich Schenker on American music theory since 1940, including a survey of writings related to Schenker and theory textbooks displaying his influence. The Schenker influence on American music theory includes many journal articles on Schenker and his principal students. His methods are employed often in analytical discussions of various issues. In addition to numerous dissertations and theses written about Schenker, a number of textbooks are now based wholly or in part on his approach to musical understanding. The current trend towards accepting Schenker's theories is likely to continue as more people are exposed to his teachings.
Date: December 1974
Creator: Austin, John C.
Partner: UNT Libraries

The Published Writings of Ernest McClain Through Spring, 1976

Description: This thesis considers all of Ernest McClain's published writings, from March, 1970, to September, 1976, from the standpoint of their present-day acoustical significance. Although much of the material comes from McClain's writings, some is drawn from other related musical, mathematical, and philosophical works. The four chapters begin with a biographical sketch of McClain, presenting his background which aided him in becoming a theoretical musicologist. The second chapter contains a chronological itemization of his writings and provides a synopsis of them in layman's terms. The following chapter offers an examination of some salient points of McClain's work. The final chapter briefly summarizes the findings and contains conclusions as to their germaneness to current music theory, thereby giving needed exposure to McClain's ideas.
Date: August 1977
Creator: Wingate, F. Leighton
Partner: UNT Libraries

Dissonance Treatment in Fuging Tunes by Daniel Read from The American Singing Book and The Columbian Harmonist

Description: This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.
Date: May 1987
Creator: Sims, Scott G.
Partner: UNT Libraries

An Analysis of the Composition Process of Bartók's Eight Improvisations on Hungarian Peasant Songs, Op. 20

Description: This is a study of Bartók's compositional process as it relates to the Improvisations, Op. 20. The study, which focuses on the analysis of the draft manuscript 50PS1, compares the draft and other relevant sources with the final composition. Bartók's framework for the entire Improvisations is based on a compositional strategy of pairing individual improvisations combined with systematic revision of the draft copy by the introduction of tritones as tonal equivalents and movement by fifths from semitones, to achieve structural coherence in the individual improvisations. The tonic-dominant relationship is used to rearrange the individual improvisations in the draft and tritones as tonal equivalents are used to propel the movement between the improvisations to produce a coherent whole.
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Date: May 2000
Creator: Kochbeck, Olivia M.
Partner: UNT Libraries

Ran, Shulamit: Concerto da Camera II, Analysis of Pitch and Formal Structure

Description: The thesis speculates upon the three movements of Concerto da Camera II (1987), scored for Bb clarinet, string quartet and piano) in these four aspects: 1) the formal structure, 2) the manipulation of the notes of whole-tone, octatonic, and chromatic scales in octave displacement, 3) the potential combination of subsets that present different levels of pitch transformation in melodic and harmonic structure, and 4) the usage of intervals of minor seconds, tritones, and perfect fourths or fifths which dominates the linear writing. All of these features demonstrate that the music has strong structural elements in form, motives, and sonorities, which unify the piece in an aurally coherent style as an organic whole. This study should provide more insight into the understanding of Ran's unique compositional technique and style.
Date: May 2000
Creator: Lin, Sheng
Partner: UNT Libraries

An Analysis of Robert Nathaniel Dett's In the Bottoms

Description: The purpose of the thesis is to analyze formally, harmonically and melodically the five movements of the suite both as separate movements and inclusively as one cohesive unit. The thesis will be written in three parts: Part One will include a biographical sketch of the composer, a general discussion of his music, background information on the suite and Dett's antecedents and contemporaries influencing him. Part Two will discuss the following: A) Form, B) Harmonic Analysis, and C) Melodic Analysis and the influences of black folk idioms. Part Three will include the keyboard music of Dett's contemporaries as compared to his suite in terms of their contrasts and similarities.
Date: December 1983
Creator: Miles, Debra A. (Debra Ann)
Partner: UNT Libraries

Dmitri Shostakovich and the Fugues of Op. 87: A Bach Bicentennial Tribute

Description: In 1950-51, for the bicentennial of the death of J. S. Bach, Dmitri Shostakovich wrote his collection of Twenty-four Preludes and Fugues, Op. 87. This thesis is a study of the fugal technique of Shostakovich as observed in Op. 87, in light of the fugal style of Bach as observed in The Well-Tempered Clavier, Volume One. Individual analyses of each of the twenty-four Shostakovich pieces yield the conclusion that Op. 87 is an emulation of Bachian fugal methods as observed in The Well-Tempered Clavier, Volume One.
Date: August 1981
Creator: Adams, Robert M. (Robert Michael)
Partner: UNT Libraries

The Key to Unlocking the Secret Window

Description: David Koepp's Secret Window was released by Columbia Pictures in 2004. The film's score was written by Philip Glass and Geoff Zanelli. This thesis analyzes transcriptions from six scenes within the film in conjunction with movie stills from those scenes in an attempt to explain how the film score functions.
Date: December 2010
Creator: McConnell, Sarah E.
Partner: UNT Libraries

A.B. Marx's Concept of Rondo and Sonata: A Critical Evaluation of His Explanations of Musical Form

Description: The third volume of A.B. Marx's theory treatise Die Lehre von der musikalischen Komposition is discussed. His definitions of rondo and sonata formal types are demonstrated in the first chapter in addition to the manner of their derivation through a developmental process originating in the Liedform. Musical examples chosen by Marx are examined in chapter two. These examples, taken from Mozart's and Beethoven's piano works, are evaluated in relation to Marx's definitions of the various types of form. The third chapter is concerned with the progression from microstructure to macrostructure and the functional interrelation of the parts to the whole. In addition, Marx's opinion on musical form is compared with perspectives of philosophers from his time period and the immediate past.
Date: July 1993
Creator: Lang, Adelheid K.
Partner: UNT Libraries

An Analysis of Periodic Rhythmic Structures in the Music of Steve Reich and György Ligeti

Description: The compositions of Steve Reich and György Ligeti both contain periodic rhythmic structures. Although periods are not usually easily perceived, the listener may perceive their combinations in a hierarchy of rhythmic structures. This document is an attempt to develop an analytical method that can account for this hierarchy in periodic music. I begin with an overview of the features of Reich's and Ligeti's music that contribute to the property of periodicity. I follow with a discussion of the music and writings of Olivier Messiaen as a precedent for the periodic structures in the music of Reich and Ligeti. I continue by consulting the writings of the Israeli musicologist Simha Arom and describing the usefulness of his ideas and terminology in the development of my method. I explain the working process and terminology of the analytical method, and then I apply it to Reich's Six Pianos and Ligeti's Désordre.
Date: August 2002
Creator: Isgitt, David
Partner: UNT Libraries

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

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.
Date: December 2002
Creator: Jarzombek, Ralph
Partner: UNT Libraries

Prolongation in Post-Tonal Music: A Survey of Analytical Techniques and Theoretical Concepts with an Analysis of Alban Berg's Op. 2, No. 4, Warm Die Lüfte

Description: Prolongation in post-tonal music is a topic that music theorists have engaged for several decades now. The problems of applying Schenkerian analytical techniques to post-tonal music are numerous and have invited several adaptations of the method. The bulk of the thesis offers a survey of prolongational analyses of post-tonal music. Analyses of theorists such as Felix Salzer, Allen Forte, Joseph Straus, Edward Laufer, and Olli Väisälä are examined in order to reveal their various underlying theoretical principles. The thesis concludes with an analysis of Alban Berg's Warm die Lüfte from his Op. 2 collection that focuses on the prolongation of a referential sonority that forms the background of the song. The analysis highlights the most significant analytical techniques and theoretical concepts explored in the survey and codifies them in a generally applicable method of post-tonal prolongational analysis.
Date: December 2010
Creator: Huff, David
Partner: UNT Libraries

The Aesthetics of Minimalist Music and a Schenkerian-Oriented Analysis of the First Movement "Opening" of Philip Glass' Glassworks

Description: Philip Glass' Glassworks (1981) is a six-movement composition for two flutes, two soprano saxophones/clarinets, two tenor saxophones/bass clarinets, two French horns, violas, cellos, and the DX7 electric piano. Glassworks consists of six movements titled "Opening," "Floe," "Island," "Rubric," "Facades," and "Closing." This thesis covers the first movement "Opening." Repetition in musical minimalism confronts traditional prescriptive codes of tonal music and post-tonal music. While challenging the traditional codes, repetition in musical minimalism established new codes for listening to minimal music. This thesis explores the implications of these ideas.
Date: May 2009
Creator: Wu, Chia-Ying
Partner: UNT Libraries

Formal Devices of Trance and House Music: Breakdowns, Buildups, and Anthems

Description: Trance and house music are sub-genres within the genre of electronic dance music. The form of breakdown, buildup and anthem is the main driving force behind trance and house music. This thesis analyzes transcriptions from 22 trance and house songs in order to establish and define new terminology for formal devices used within the breakdown, buildup and anthem sections of the music.
Date: December 2011
Creator: Iler, Devin
Partner: UNT Libraries

Sibelius's Seventh Symphony: Genesis, Design, Structure, and Meaning

Description: This study explores Sibelius's last and, perhaps, most enigmatic Symphony from historical (source-critical), Schenkerian, and transtextual perspectives. Through a detailed study of its genesis, musical architecture, and meaning, the author maintains that the Seventh, its composer, and its generative process, can best be understood as a series of verges: conceptual points of interaction between two or more forces. Verges between Sibelius's nature mysticism and the dramatic biographical circumstances of the period (1914-1924), between inspired and reasoned modes of composition, between genres (symphony and fantasy), between various form types, between tragic despair and hopeful yearning, between innovation and classicism, and between a host of other seeming oppositions, all define the Seventh Symphony and illuminate various facets of the composer's life and thought.
Date: May 2004
Creator: Pavlak, F. William
Partner: UNT Libraries

Functions of Quotations in Steven Stucky's Oratorio August 4, 1964 and Their Placements within the Context of a Quotation Continuum: Cultural, Commentary, Remembrance, and Unity

Description: The oratorio August 4, 1964 is a twelve-movement work for orchestra, chorus, and four soloists written by Steven Stucky. The premise for the libretto, adapted by Gene Scheer, is the confluence of two events during one day (August 4, 1964) in the life of Lyndon B. Johnson. Although the main idea of the libretto focuses on these two events of this one day, many cultural references of the 1960's in general can be found as well, such as quotations from the well-known song "We Shall Overcome." Stucky borrows from a motet he wrote in 2005 for another quotation source utilized in this oratorio, "O Vos Omnes." My goal in this thesis is to reveal and analyze the many different levels of quotations that exist within August 4, 1964, to explore each quotation's individual function within the oratorio (as a cultural gesture, commentary or remembrance), and to examine the structural coherence that emerges as a result of their use within the oratorio.
Date: May 2011
Creator: Davenport, Jennifer Tish
Partner: UNT Libraries

Reevaluating twelve-tone music: analytical issues in the second movement of Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22.

Description: Twelve-tone music illustrates many characteristics relative with those of conventional tonal form, though works are based on a different composition method. The fundamental question of twelve-tone music arises in debate on terminology between tonal and atonal as well as methodology of musical analysis. Certain theorists try to approach twelve-tone music by traditional harmonic views rather than by pitch-class set theory. Conventional harmonic aspects arise from the fact that both tonal and twelve-tone music share similar narrative strategies. This point is explored in examining Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22, which displays connection to tonal music. The present study seeks to examine certain features of the composer's working in pitch materials; i.e., the dispositions of pitch classes and the characteristics of the matching dyads, and thereby to disclose the connection between twelve-tone methods and conventional harmony.
Date: August 2006
Creator: Lin, Tzu-Hsi
Partner: UNT Libraries

Beethoven's Opus 18 String Quartets: Selected First Movements in Consideration of the Formal Theories of Heinrich Koch as Expressed in Versuch Einer Anleitung Zur Composition

Description: Heinrich Koch completed his treatise in 1793, a pioneering work regarding the musical phrase as well as a sonata form description (lacking that term). Composition of Opus 18 began in 1798, a momentous project for several reasons in Beethoven's early career. Here, the theories expressed in Koch's Versuch are taken as an analytic springboard into a thorough analysis of the first movement of the quartet published no. 3, which was the first composed; additionally, nos. 1 and 6 are explored to a lesser degree. This study in phrase-analysis demonstrates significance in the fundamental ideas of Koch as applied to a masterwork of the turn of the 19th century.
Date: December 2006
Creator: Tompkins, Robert
Partner: UNT Libraries

X, An Analytical Approach to John Chowning's Phoné

Description: The analysis of computer music presents new challenges to the field of music theory. This study examines the fixed media composition Phoné by John Chowning from its aesthetic perspective, compositional theory and computer sound synthesis techniques. Fast Fourier Transform analyses are used to create spectrograms. The findings from the spectrograms are juxtaposed with compositional philosophies of John Chowning, Jean-Claude Risset, Pierre Schaeffer and Arnold Schoenberg and the techniques are represented via PureData patches.
Date: May 2010
Creator: Krämer, Reiner
Partner: UNT Libraries

The Opening Section of Isang Yun's My Land My People: A Cross-Section of Korean and Western Musical Features

Description: Isang Yun's oratorio My Land My People is organized in four movements, and is scored for orchestra, solo voice and choir. Movements are titled as follows: Rjoksa (History), Hyon-Shil I (Presence I), Hyon-shil II (Presence II), and Mi-rae (Future). This document only covers from measures 1-38 of the first section of the first movement of this work. Even though this work is atonal, the composer emphasizes a harmonically moving, tonal sonority: interval class five includes perfect 4th and 5th, quintal-quartal harmony and authentic cadence moving dominant to tonic. Also, in this document, a comparison with Korean traditional music elements is included to support Isang Yun's musical features.
Date: May 2006
Creator: Choi, Woohyuk
Partner: UNT Libraries

The Influence of Fredrik Melius Christiansen on Six Minnesota Conductor-Composers

Description: F. Melius Christiansen was very influential in the a cappella choral tradition. He started his career in Norway and brought his expertise to the American Midwest. Christiansen established a name for himself while working at St. Olaf Lutheran College as the head of the music department. It was the blended choral sound and precision he was able to achieve and display with his new choir in 1912 that caught everyone's ear. He continued to succeed with national and international tours, allowing him to spread his new "St. Olaf" choral sound through his music, compositions, and conducting school. This study explores the influence of F. Melius Christiansen (1871-1955) and the Minnesota choral tradition on six subsequent conductor-composers' compositions and conducting styles, including: Olaf Christiansen (1901-1984), Paul J. Christiansen (1914-1997), Kenneth Jennings (b. 1925), Robert Scholz (b. 1940), René Clausen (b. 1953), and Kenneth Hodgson (b. 1939) using Schenkerian analysis.
Date: May 2006
Creator: Armendarez, Christina Marie
Partner: UNT Libraries

From Outward Appearance to Inner Reality: A Reading of Aaron Copland's Inscape

Description: About 8.3% of individuals diagnosed with diabetes mellitus (DM) are diagnosed with comorbid depression, a higher rate than the general adult population. This project examined the differences of depression symptoms experienced between diabetic and matched non-diabetic individuals and the relationship of daily activity and nutrition behaviors with depression between these groups. The 2005-2006 National Health and Nutrition Examination Survey (NHANES) was utilized to assess: depression symptoms, diabetic glycemic control as measured by glycoginated hemoglobin (HbA1c), amount of physical activity, percentage of macronutrients, daily frequencies of foods consumed, and the use of nutritional food labels to make food choices. A sample of diabetic (n = 451) and non-diabetic individuals (n = 451) were matched to on age, gender, ethnicity, and education. The diabetic individuals experienced greater depression on both continuous and ordinal diagnostic variables. Counter to expectation, there was no relationship observed between depression and HbA1c in diabetic individuals, r = .04, p > .05.
Date: December 2010
Creator: Ensign, Jeffrey S.
Partner: UNT Libraries

Gewesener Magdeburgische Musicus: An Examination into the Stylistic Characteristics of Heinrich Grimm's Eight-Voice Motet, Unser Leben Wehret Siebenzig Jahr'

Description: Although Magdeburg cantor Heinrich Grimm was frequently listed among prominent musical figures of the early seventeenth century such as Heinrich Schütz, Johann Hermann Schein, and Michael Praetorius in music lexica through the nineteenth century, he has almost disappeared from modern scholarship. However, a resurgence in Grimm studies has begun in recent years, especially in the areas of biographical study and compositional output. In this study, I examine the yet unexplored music-analytic perspective by investigating the stylistic characteristics of Grimm's 1631 motet, Unser Leben wehret siebenzig Jahr'. Furthermore, I compare his compositional technique to that of his contemporaries and predecessors with the goal of examining the work from both Renaissance and Baroque perspectives.
Date: December 2010
Creator: Dobbs, Benjamin Michael
Partner: UNT Libraries