UNT Theses and Dissertations - 380 Matching Results

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The Flute Professors of the Paris Conservatoire from Devienne to Taffanel, 1795-1908

Description: Since its establishment (1795), the Paris Conservatoire has attracted top-ranking flutists who, through their playing, teaching, writings, and attitudes, (toward the Boehm flute, for example), have influenced flutists and composers throughout Europe. Through Paul Taffanel, who founded the Societe d'Instruments a Vent in 1876, standards of woodwind playing reached new heights. When Taffanel's students, Georges Laurent and Georges Barrere, emigrated to the United States, they influenced the style and development of flute-playing in this country. Through Barrere's famous student, William Kincaid, there arose what might be termed the American school. The intent of this paper is to place these flutists in perspective. The professors are discussed chronologically; information on the style, works, students, and influence of each man is included.
Date: August 1980
Creator: Ahmad, Patricia
Partner: UNT Libraries

The Nocturnes of Chopin

Description: John Field (1782-1837), an Irishman, was the first composer to use the French term "nocturne," and was the inventor of the nocturne for piano. It can be seen with a glance at the scores that the orchestral notturni by the eighteenth century composers were very different than what is generally thought of today as a nocturne. Field introduced the idea of the nocturne that has remained much the same since. Frederic Chopin enlarged and improved the genre invented by Field, but it was Field's originality that brought this type of piece to piano literature. Indeed, John Field is hardly remembered today except as the inventor of the nocturne for the piano and for his influence on Chopin's Nocturnes. For that alone musicians will remain indebted to him.
Date: June 1957
Creator: Alexander, Monte Hill Davis
Partner: UNT Libraries

A Musical and Dramatic Analysis of the Principal Tenor Roles in Mozart's Singspiele

Description: This paper will examine one area of Mozart's work, the Singspiele. This study is an analysis of the principal tenor roles of Mozart's Singspiele. The organization for analyzing these works conforms to three periods in Mozart's life. (1) Childhood and Early Youth, to 1774; (2) The Period of the First Masterworks, 1774-1781; and (3) The Years in Vienna, 1781-1791. Related biographical data and historical background have been utilized in discussing each work. Because the Singspiele is a musical composition, analyses will consider music as the major source of development, using plot and character wholly as supporting features.
Date: December 1970
Creator: Alexander, Ronald C. (Ronald Curby)
Partner: UNT Libraries

Piano Sonatas Six, Seven and Eight of Prokofiev

Description: The Sixth, Seventh, and E Piano Sonatas of Prokofiev illustrate the composer's more mature style. In these works there is a definite return to the classic forms and contrapuntal devices which have been called Neo-classicism. Prokofiev, himself, has said that form is one of the basic elements of his style. It is the purpose of this thesis to discover the' formal organization and make a comparison of these sonatas with the works of Beethoven and his contemporaries.
Date: January 1956
Creator: Allen, Daniel Joseph
Partner: UNT Libraries

Stylistic Analysis of "Banalités" by Francis Poulenc

Description: Because of the nature of the poetry, the interpretation of Banalites in this study has involved certain subjective decisions. These deductions were, nevertheless, colored by statements of the poet, the composer, and authorities on each. This is not to imply, however, that this is the only interpretation. Both poet and composer have given evidence that their creation requires a subjective response on the part of the interpreter. This is perhaps the greatest challenge offered by the work.
Date: January 1968
Creator: Allen, Joy Ann
Partner: UNT Libraries

A Comparative Study of Three Sonatas for Solo Brass Instruments and Piano by Paul Hindemith

Description: In the years during the writing of The Craft of Musical Composition, and for the next few years afterwards, Hindemith was engaged in writing a solo sonata for each of the instruments of the orchestra. Muser states that this series of sonatas continues a definite policy of providing music for people who want to play music, and not merely to listen to it. The three sonatas for solo brass instruments and piano were written during this period. The sonatas, written for trumpet, horn, and trombone, were written in the following order: Sonata for Trumpet and Piano—1939; Sonata for Horn and Piano—1939; Sonata for Trombone and Piano—1941. These sonatas, being written rather closely together, should have certain stylistic characteristics in common, and there should also be certain features peculiar to each sonata. To study these sonatas and compare them with each other structurally and stylistically is the purpose of this work.
Date: June 1957
Creator: Alley, Edward Lee
Partner: UNT Libraries

An Analysis of Maurice Ravel's Technique of Orchestration

Description: It is interesting to note that several of Ravel's compositions for the piano were successful only after he had orchestrated them. Ravel, a pianist, had a natural gift for orchestration, and when writing for the piano he seems to have projected his thoughts to the orchestra; thus some of his works are more successful' for the orchestra than for the piano. Since he orchestrated several of his own piano compositions, these present an excellent opportunity for a study of his orchestrations.
Date: August 1958
Creator: Allman, Murray Augustus
Partner: UNT Libraries

Transcribing Orchestral Accompaniments of Large Choral Works for the Organ

Description: The art of transcribing orchestral accompaniments for organ is one of the most difficult problems which organists must face. Although a few will become professional recitalists, most organists will at one time or other have a church position and be required to play oratorios and other large choral compositions which were originally scored for orchestra. Several of the most popular of these works (Handel's Messiah, Saint-Saëns's Christmas Oratorio, Fauŕe's Requiem) have already been arranged for organ, but the majority are available only in piano reductions. The main body of the paper deals with this latter group of works, for it is here that the most urgent problems exist. However, some of the organ arrangements now available need considerable revision because they try to imitate the whole orchestra and are virtually impossible to play. Therefore, some preliminary comments on already existing transcriptions seem necessary.
Date: August 1966
Creator: Anderson, David Zane
Partner: UNT Libraries

The Early Music Ensemble in 21st Century America

Description: The early music ensemble has evolved from a counterculture to a mainstream musical genre. Because of this early music is having to learn arts management. Once a unique force it now competes with other arts organizations for funding and audience. Unlike other arts groups, early music has little help from within to clarify non-profit management. Through three types of surveys that were e-mailed to 239 early music organizations and 20 early music societies, an assessment of what is currently happening with early music ensembles in terms of growth, funding and over all well-being can be made. The information obtained revealed that most early music ensembles have little or no training in how to run an organization. This inexperience is creating problems and changing the face of early music. Information from the surveys also reveals that even with the economic problems over the last three years, early music is continuing to survive.
Date: December 2003
Creator: Assid, Tonya
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

Twenty-Six Two- and Three-Voiced Canons by Johann Walter Transcribed for French Horn

Description: This thesis provides modern transcriptions for horn of twenty-six two- and three-voiced canons by Johann Walter, thereby adding to the literature available from the sixteenth century for that instrument. This project specifically attempts to introduce the high school and college student hornist to modal music in strict fugal form; the transcriptions appear as an appendix. The topics discussed in the body of this thesis include the canon, Johann Walter's life and significant contributions, sixteenth-century instrumental music, musicians' guilds, the zink, and the horn. This work is not intended to offer a comprehensive history of any of these areas, but to aid the teacher and student in the preparation and performance of these transcriptions.
Date: May 1988
Creator: Balthrop, Sharon
Partner: UNT Libraries

Practices of English Diction for Singers 1900-1971

Description: Specialized training in English diction for singers became increasingly prevalent in the twentieth century. Along with this growth, a small but significant literature on the subject developed. There are divergent practices recommended for American singers, displayed by nine authors in ten books published between 1900 and 1971. A comparative study yields pedagogies of vowel and consonant production. Issues of sounds in context, including proper linkage and stress, adjustments from speech to song, and practices dictated by musical style, are paramount. The literature demonstrates an increased use of International Phonetic Alphabet symbols as a pedagogical tool. The areas of kinesiology and acoustical research are suggested for further study.
Date: August 1991
Creator: Barber, Carol H. (Carol Hansell)
Partner: UNT Libraries

Choral Problems in the Unaccompanied Music of Francis Poulenc

Description: The purpose of this study, ve to analyze the stylistic characteristics in the unaccompanied music of one twentieth century composer, Francis Poulenc, in order to discover the choral problems which would confront choruses and conductors as they performed his music. It is hoped that this study will not only enable choral conductors to better understand, interpret, and appreciate the music of Poulenc, but also will serve as a guide toward the investigation of other twentieth century composers and their works.
Date: January 1966
Creator: Barnard, Jack Richard, 1932
Partner: UNT Libraries

The Organ Works of Jehan Alain

Description: This study looks at Jehan Alain's music itself. However, it does not propose to analyze every bar of every composition but rather to point out certain melodic, rhythmic, and harmonic traits that are peculiar to this composer's style. It will also set forth facts concerning Alain's registrations and other items of special interest to organists. Upon such investigation an attempt will be made to reach a critical evaluation of Alain as a composer for the organ.
Date: May 1952
Creator: Barron, Richard Errol
Partner: UNT Libraries

Postmodern Multiplicities in Three Original Works

Description: My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation contains three newly-composed musical works: Piano Trio from Opus 3/c, Opus 6 for Violin, and Opus 7 for Piccolo. The works' postmodern features include creative approaches to the fragmentation of musical time into separate levels, historical allusions, and the exploration of multiplicity.
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Date: December 2017
Creator: Bejo, Ermir
Partner: UNT Libraries

An Evaluation of Present Practice in the Education of School Music Teachers in Texas

Description: For a long time there has been a growing conviction among the music graduates from colleges in Texas that the training of music teachers has been limited both from the standpoint of the number of hours offered in music for a degree and of the adequacy of the training received. The trends in music teacher education in Texas need to be evaluated in order to determine whether or not teacher training in this state is adequate. In comparing the adequacy of the school curriculum as far as the number of hours and courses is concerned, McEachern's A Survey and Evaluation of the Education of School Music Teachers in the United States will be used as a source of comparison, since this study is inclusive of the curricula of colleges over the United States.
Date: August 1940
Creator: Bevill, Anna Mary
Partner: UNT Libraries

Harmony and Structure in Richard Strauss's Macbeth

Description: This study begins with a discussion of step theory. Included in this discussion is the basis of chord succession, the idea of fundamental representation, and the uses of reinterpretation technique. These concepts are then used to demonstrate the continuity and logic of the harmonic language found in Strauss's Macbeth.
Date: August 1996
Creator: Bills, Danny C.
Partner: UNT Libraries

A Transcription into Modern Notation of a Chansonnier (Fonds Francais 2245) of the Duke of Orleans, with Commentary and Concordance

Description: Fonds Français 2245 is a fifteenth-century chansonnier of the Duke of Orleans which is property of the Bibliothèque Nationale in Paris, France. This thesis describes the document and provides commentary and transcriptions.
Date: August 1955
Creator: Birmingham, Hugh Myers, 1929-
Partner: UNT Libraries

Robert Schumann: Novelletten, Opus 21, a Lecture Recital, Together with Three Recitals of Selected Works of L.v. Beethoven, R. Schumann, J. Brahms, and E. Granados

Description: The Novelletten of Robert Schumann stand out as unusual among his works for solo piano. It is the largest cycle of character pieces in his output and has other distinguishing features. One unusual aspect of the work is its abundance of literary references which Schumann revealed at various points when it was being composed. This is an aspect unique to this cycle since Schumann's other cycles refer to a single literary source. One of the purposes of this paper is to discuss these numerous literary references which have never been examined in any detail before. Present in the Novelletten is a use of musical motives from works of his wife Clara. There are also musical references to other composers such as Beethoven and Haydn. This quoting of himself and others is not an uncommon practice for Schumann but here, in context with remarks made by Schumann himself about the work, the nature of his use of these musical references becomes more transparent. One of the main points being made through this discussion of literary and musical references in the Novelletten is that partly through these elements the work is unified into an eight movement cycle.
Date: May 1981
Creator: Blaine, William
Partner: UNT Libraries

The Secular Solo Songs of Pelham Humfrey

Description: Humfrey's music, which is chiefly sacred, includes a large number of anthems, odes, services and songs. His compositions, particularly his sacred compositions, have received extensive investigation only on one other occasion, in Henry Bryce Jordan's unpublished dissertation on the subject. Of his sacred music, the anthems form by far the largest and most signification part. Six of them were printed in W. Boyce's Cathedral Music (London, 1760); twelve more, including the "club anthem" and an evening service, are to be found as part of the Tudway Collection of the British Museum (Harl. MS 7338) and others are extant in manuscript at the libraries of Ely, Salisbury, Windsor, the Friz-william Museum (Cambridge), Christ Church (Oxford, Birmingham University, St. Michael's (Tenbury), and the Additional manuscripts in the British Museum. It was primarily int he anthems that Humfrey introduced into England some of the declamatory methods of the French theatre and thus secured for himself the credit of having established their form and style. His solo songs, on the other hand seem to occupy a somewhat less esteemed position, attributable perhaps to their remarkable simplicity, and in few cases to their apparent neglect of such musical fundamentals as melody and rhythm. It is the songs, more accurately the secular songs for solo voice, which have been chosen as the topic of this study.
Date: June 1966
Creator: Blancq, Charles, 1940-
Partner: UNT Libraries