UNT Theses and Dissertations - 53 Matching Results

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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 Melodic Use of the Augmented Second in the Eighteenth Century

Description: When a particular phase of music theory is omitted from the contents of a treatise or textbook on that subject, the omission can usually be ascribed to one of two causes. Either the omitted phase is of little importance or it is not used in the music of the period on which the treatise or textbook is based. It is the purpose of this research study to discuss a particular phase of music theory that has been omitted or avoided by numerous counterpoint and theory textbook authors. The material in the contents of this work is based on a discussion of the melodic use of the augmented second in the music of the eighteenth century.
Date: January 1952
Creator: Shipp, Clifford M. (Clifford Marion)
Partner: UNT Libraries

Quintet for Woodwinds

Description: The purpose of writing the quintet for Woodwinds is to produce composition for woodwind ensemble containing elements of significant musical form. Much of the quintet music. by composers such as, Reicha and Taffanel is characterized by pure virtuosity of style and lack of significant musical form. The Quintet for Woodwinds utilizes the conventional instrumentation for a woodwind quintet, that is, flute, oboe, clarinet (Bb), Horn in F,, and bassoon. In the Third Movement (Playfully) the piccolo is to be used as an alternate instrument with the flute.
Date: January 1956
Creator: Hutchison, Warner, 1930-
Partner: UNT Libraries

The Use of Music as a Therapeutic Agent in Connection with and as an Aid to Hospitalized Mental Patients

Description: The increasing importance of music as a therapeutic benefit in mental hospitals has prompted this study. Numerous unscientific reports and papers concerned with music therapy have been published; however, material based upon controlled experiments and results is available which has proven valuable in the study of this growing aid for mental patients. The reference material in the following chapters has been organized and limited to objective reports produced by those who have devoted their interest and time to the facts about the use of music as a therapeutic agent in mental hospitals.
Date: January 1952
Creator: McClung, Marjorie C. (Marjorie Catherine)
Partner: UNT Libraries

The Tenor Roles in the Oratorios of George Frederick Handel Based on the Old Testament and Jewish History

Description: George Frederick Handel is one of the most important composers of oratorio in musical history. Between the year 1704, when he composed his Passion According to Saint John, and 1757, the year of his last oratorio, The Triumph of Time and Truth, Handel composed twenty nine works which have at one time or another been classified as oratorios. Only those works that are considered by all authorities as oratorios and are based on the Old Testament or Jewish history are included in this study. Handel writes solo roles for the tenor voice in all of the sixteen oratorios included in the study with the exception of the revision of Esther and in Deborah. The musical and dramatic function of the tenor solo roles varies with each oratorio. The significance of the tenor roles fluctuates with the dramatic impact of the story related by the oratorio and is completely dictated by it. Handel used all solo voices with concern for the best over all theatrical effect foremost in mind. To place in proper perspective his use of the tenor voice in relation to the other solo voices, such factors as the musical and dramatic importance of the tenor roles, character types portrayed, and the style and ranges of arias, should be considered.
Date: January 1967
Creator: Frederick, Jeffrey D. (Jeffrey Dickson)
Partner: UNT Libraries

Audio-Visual Materials for the Primary Music Classroom

Description: The purpose of this problem was to select audio-visual materials that would enhance the teaching of music in the primary grades. Since audio-visual equipment and materials have gained a place of prominence in the modern education program, the teachers, administrators, and even the architects need to be cognizant of their possibilities and applications. Audio-visual aids should be investigated to disclose ways of improving their utilization in the learning process through the stimulation of the following human senses: sight, hearing, and touch. The results of many experimental research studies in the field of audio-visual education have proved that the application of audio-visual devices in the classroom greatly improves both understanding and retention as compared to conventional teaching methods. It is hoped that the identification, enumeration, and suggestions for utilization of audio-visual aids presented in this study will motivate the reader to give further attention to audio-visual materials as applied to his specific situation, with the awareness of their unlimited possibilities in increasing understandings through sensory experiences.
Date: January 1967
Creator: Mathesen, Nancy A. (Nancy Ann)
Partner: UNT Libraries

Stylistic Comparisons and Innovations in Mozart's E-Flat Major Piano Concertos, K. 271 and K. 482

Description: It is obvious that the Mozart Eb Major Concertos for Piano, K. 271 and K. 482, bear certain resemblances to each other. The primary conclusion of this study is that Mozart consciously looks to K. 271 as a guide for his later composition. Consider the fact that the "Jeunehomme" concerto establishes Mozart as a mature musician and wins him public acclaim. He seeks to regain public favor with the later work.
Date: January 1970
Creator: Blocker, Robert L. (Robert Lewis), 1946-
Partner: UNT Libraries

Analysis of the Song Cycle “On Wenlock Edge” by Ralph Vaughan Williams

Description: This examination of Ralph Vaughan Williams' song cycle to poetry of Alfred Edward Housman, "On Wenlock Edge," will follow primarily two avenues of approach. First, following a brief biographical sketch of Vaughan Williams' career prior to the composition of "On Wenlock Edge," will be a discussion of Vaughan Williams' and Housman's respective aesthetic philosophies. In order to lay the background for certain salient characteristics of this cycle, parallels as well as differences in their artistic thinking will be explained. Secondly, a poetic analysis will precede the musical analysis of each song in order to differentiate between the original intent of the poet and the interpretation of the poetry by Vaughan Williams.
Date: January 1965
Creator: Pummill, John Douglas
Partner: UNT Libraries

A Comparison of the Hindemith and Schenker Concepts of Tonality

Description: The purpose of this thesis is to illustrate and compare, through a representative historical sampling of music, the concepts of tonality evolved by Paul Hindemith in his Craft of Musical Composition, Vol. I; and Heinrich Schenker in his Tonwille, MusijNkeael ische Theorien Fantasien, Das jeisterwerk in der Musik, and Per Freie Satz.5 When feasible, these two concepts will be compared with the conventional concept.
Date: January 1955
Creator: Knod, Grace E., (Grace Edith)
Partner: UNT Libraries

Blend in Choral Sound

Description: There is a need for a systematic collection of ideas concerning blend in choral sound. Many authorities discuss blend, but their concepts of the term are very divergent. These divergent concepts lead to emphasis of various factors which are important to the development or achievement of blend in choral sound. This emphasis in turn leads to various methods of achieving blend. Authorities ascribe several definitions to the term blend, as it relates to choral tone. These definitions should be studied collectively in order that a clearer concept of the term blend in choral sound may be developed. In studying blend in choral sound, several factors are generally deemed important. No study has been made which leads to a consensus concerning the relative importance of these factors. Scientific studies have been made of these factors, but the results have not been compiled and presented in one source. Authorities employ various methods in working with the factors which affect blend in choral sound. No study has been made which includes these methods. It is hoped that this study will contribute to the collecting and organizing of ideas regarding blend, including its various definitions and its important factors. It is also hoped that this study will contribute to the understanding of these factors as they relate to the achievement of blend in choral sound. It is intended that this study will present this information in such a manner as to be of assistance to the musician in the field of choral music.
Date: January 1967
Creator: Wyatt, Larry Douglas, 1943-
Partner: UNT Libraries

A Pedagogical Approach to the Bach Two-Part Inventions

Description: Since the nineteenth century the Two Part Inventions have become standard repertoire for piano students. However, piano teachers have often failed to give serious consideration to the suitable selection of Inventions for study. Piano students have commonly formed a dislike for Bach's piano music because of an ungratifying initial experience. There is little material written in English dealing with the Two Part Inventions. Those studies of the Inventions which do exist consist mainly of brief articles in periodicals and limited discussions in piano literature books. Therefore, there seemed to be a need for a systematic collection of pedagogical ideas concerning the Two Part Inventions. In addition, it was felt that an analysis of the problems in each piece and a subsequent graded list of the Inventions would be a step toward a more intelligent and more knowledgeable approach in the teaching of these compositions.
Date: January 1969
Creator: Coryell, Carol W. (Carol Walfe)
Partner: UNT Libraries

The Development and Utilization of the Valved Brasses in the Orchestra of the First Half of the Nineteenth Century

Description: The need for a valve mechanism of some type was first felt by French horn players, and after the horn's valve system had somewhat proved itself to composers as well as instrumentalists, it was adapted for the other brass instruments.
Date: January 1969
Creator: Olson, Michael A. (Michael Augustus)
Partner: UNT Libraries

The Use of the Trombones in Beethoven's Symphonies Nos. 5, 6, 9, and Schubert's Symphony No. 8

Description: The primary purpose of this thesis will be to examine the orchestration of the trombone section in the Viennese symphonies of the early Romantic period. In order to fully understand the function of the trombone section in these syphonies, a review of the trombones usage in previous centuries is in order.
Date: January 1968
Creator: Seifried, Denver Dugan
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

The Stylistic Characteristics of Beethoven's Early Piano Trios

Description: The purpose of the present study is to determine the stylistic characteristics of Beethoven's early piano trios. For the purposes of this study, the term "piano trio" is defined as any work for three instruments in which a piano participates. Of the twelve such trios written by the composer, the first six are dealt with. There is in addition a brief discussion of a trio of uncertain origin. These six piano trios were composed over a span of about ten years (1785-1795), between the ages of fifteen and twenty-five. Although there is a great deal of uncertainty as to the exact time and place of origin of these trios, the first three are generally considered to have been written in Bonn, and the last three in Vienna.
Date: January 1969
Creator: Hoff, Donald C.
Partner: UNT Libraries

Transcriptions and Editions for Harp by Carlos Salzedo

Description: Anyone concerned with the harp in this century knows of the genius of Carlos Salzedo. His pedagogical, compositional and professional activities have had a tremendous impact on the harp world. With this in mind, the present study considers his transcriptions for harp from other works and his editings of other composers' harp compositions. It is the purpose of this study to find in what ways his work in this area has been helpful to harpists.
Date: January 1956
Creator: Thornberry, Johne Buddington
Partner: UNT Libraries

Contemporary Plans for Training the Boy's Changing Voice

Description: The purpose of this study is to describe contemporary plans for training the boy's changing voice and to prescribe ensemble material for these voices. Specific Problems: Analysis of the general problem leads to subordinate questions, or sub-problems, which may be stated as follows: 1. What are the contemporary plans of training the boy's changing voice? 2. What are the most usable musical materials available for use by ensembles which include boys with changing voices?
Date: January 1964
Creator: Cox, Rolla Kenneth
Partner: UNT Libraries

Harmony in the Symphonies of Ralph Vaughan Williams

Description: The harmony of Vaughan Williams defies classification in terms of traditional harmony alone, making use as it does at times, of structures of superposed fourths, so-called "added-note" chords, and random sonorities, as will appear. Therefore, the chords will be placed into two principal categories of usage, traditional and non-traditional.
Date: January 1958
Creator: Edmonds, Billy Joe
Partner: UNT Libraries

The Twenty-Four Preludes of Chopin, Opus 28: Formal Structure, Harmonic Deviations, and Modulation Devices

Description: The preludes as a whole do not conform to any specific formal mold, but offer a variety of form: binary, ternary, one-part, and five-part. As such, no new formal structures have been introduced by this "first" of the nineteenth century and twentieth century "disconnected" preludes. On the other hand, they are a heterogenous collection of styles, moods, and forms--a precedent that was followed by Debussy, Rachmoninoff, and various others. To determine the degree to which Chopin was harmonically advanced would require comparative analyses of works by his contemporaries and later nineteenth-century composers. Suffice it to say that one would be hard put to locate a collection of compositions of similar length and scope, written in the 1820's, that contains the wealth of harmonic innovations found within Opus 28.
Date: January 1970
Creator: Daniel, Edward L. (Edward Lee)
Partner: UNT Libraries

An Interpretative Analysis of the Song Cycle An die ferne Geliebte by Ludwig Van Beethoven

Description: Statement of Problem and Analytical Procedures The primary purpose of this study is to examine the song cycle An die ferne Geliebte, by Ludwig van Beethoven, in an effort to provide the performer substantive musical and poetic evaluations leading to a valid interpretation of the songs. The analysis is intended to determine the aesthetic implications of the cycle and their effect on performance.
Date: January 1970
Creator: Doan, Jerry D.
Partner: UNT Libraries