UNT Theses and Dissertations - 35 Matching Results

Search Results

Overview and Introduction to the Organ Music of Alsatian-american Composer René Louis Becker (1882-1956)

Description: This dissertation provides the first biographical overview and annotated catalog of the organ music of Alsatian-American organist and composer René Louis Becker. Born and educated in Strasbourg, Alsace, Becker emigrated to the United States in 1904 and remained active as a composer and church musician for the next 50 years. in addition to providing sources for his biographical information, documentation of the specific organs with which Becker was professionally associated is included for the purpose of evaluating possible dates of composition of his undated organ works as well as for consideration of organ registrations when performing his works. Primary sources include newspaper clippings, personal correspondence, family scrapbooks, organ archives, and both published and unpublished manuscripts. Study of these manuscripts, including rediscovery of more than fifty works of Becker’s which were previously published in the early 1900s, present an opportunity to introduce a large new body of sophisticated repertoire from a distinguished and accomplished musician to the field of organ music. Becker composed more than 180 individual works for the organ, over half of which remain in manuscript and which were completely unknown since even before his death in 1956. Becker’s complete known oeuvre for organ includes 34 marches, 15 toccatas, three published large-scale sonatas as well as numerous works styled as preludes, postludes, finales, chansons, fantasies, fugues, and multiple small-scale compositions. After a brief biography and an overview of Becker’s compositional style and complete extant organ works, an introduction to his largest-scale work for the organ, the five-movement First Sonata in G, op. 40, is given. This is followed by an illustration of the overt stylistic influences present in the first two movements of that sonata with extensive musical examples, serving to establish Becker as one of the inheritors of the romantic tradition of the large-scale organ sonata and as ...
Date: May 2012
Creator: Spritzer, Damin
Partner: UNT Libraries

Uniting Commedia Dell’arte Traditions with the Spieltenor Repertoire

Description: Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. the Spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s Spieltenor benefit from consulting the commedia dell’arte’s traditions? to answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. the Spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. in addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the Spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five Spieltenor roles. Suggestions are provided to enhance the visual, physical and dramatic elements of each role’s performance. I conclude that linking a commedia dell’arte stock character to any Spieltenor role on the basis of shared traits offers an untapped resource to create distinctive characterizations based on theatrical traditions.
Date: May 2012
Creator: Trahan, Corey
Partner: UNT Libraries

The Collective Pedagogy Utilized By the Trombone Instructors at the Rotterdam Conservatory of the Netherlands

Description: The Collective Pedagogy Utilized by the Trombone Instructors at the Rotterdam Conservatory of the Netherlands offers a comprehensive study of the collaboration between the various instructors of the trombone studio within the Rotterdam Conservatory and their pedagogical approach to curriculum, lesson structure, grading process, student body, and social environment. the Rotterdam Conservatory has produced some of the finest trombonists in the global music community. Alumni from the conservatory consistently win positions in professional ensembles, succeed in national and international competitions, and are often featured artists at international music festivals. the success of their alumni warrants closer scrutiny of the pedagogical approach utilized by the faculty of the conservatory.
Date: May 2012
Creator: Wallace, Noel James
Partner: UNT Libraries

Never Odd Or Even: Using Temporal Structures In Composing Music For Dance

Description: This study engages the collaboration of dance and music, focusing primarily on experiences in the production of a large scale collaborative concert entitled Never Odd or Even. Famous historical collaborations offer archetypal collaborative models, the more unconventional of which are applied to the pieces of the concert. Issues and observations regarding cross-influence, project evolution, and application of the collaborative models are engaged to determine effective means of collaboration given different circumstances. The key focus of the study, the temporal relationship between music and dance, is explored in great detail to determine three models for relating time between music and dance. These temporal relationship models are applied to the pieces and evaluated on effectiveness and potential strengths when applied to dance.
Date: May 2012
Creator: Bernardo, Daniel
Partner: UNT Libraries

Reviewing Commercial Music Resources: a Guide for Aspiring Singers and Vocal Professionals

Description: Contemporary commercial music is a broad label used to describe the styles of popular music including pop, rock, rhythm and blues, jazz, hip-hop, country and heavy metal. the vocal ability required for each of these genres varies greatly but may require the use of screaming, belting, utilizing vocal fry and growling or singing with a breathy or dark tone. Singers who wish to perform in these genres may need assistance with vocal technique to assure the longevity and the quality of their singing. Due to the rise in popularity and the accessibility of contemporary commercial music (CCM), commercial pedagogical guides and self-study manuals are abundantly available for purchase. Aspiring singers are searching for appropriate training for this genre without having an awareness of how the voice works and how to maintain good vocal hygiene. Those who seek out private instruction are often frustrated when traditional classical training techniques are offered, rather than techniques utilizing CCM styles. Because CCM pedagogy is relatively new and few pedagogues in this specialized field are well known, the self-taught singer is responsible for finding a reliable study source. Many vocal instructors and choral directors are interested in familiarizing themselves with new stylistic techniques to enhance the performance of their students while maintaining vocal health. By reviewing popular vocal method books and techniques, insight may be given to assist a singer or vocal teacher in selecting resources of CCM styles.
Date: May 2012
Creator: Hanlon, Susan Christina
Partner: UNT Libraries

The Choral Music of Ola Gjeilo: a New Vision of the Choral Instrument in the 21St Century

Description: The choral music of Norwegian composer Ola Gjeilo (pronounced “yay-loh”) is gaining international acclaim and is widely performed and commissioned by prominent high school, university, and professional choirs. It represents a philosophical approach and vision of the choral instrument for which the conductor must have a clear understanding in order to prepare a meaningful performance. in particular, his music merges diverse musical influences, which results in a product of unique character among choral compositions in the late 20th and early 21st centuries. Gjeilo draws inspiration from a text but then uses its sonic qualities (the sounds of vowels and consonants) to create an atmosphere of sound instead of following the traditions in choral and vocal music of using musical mechanisms (melody, rhythm, and harmony) to reinforce the text poetically. This study provides an overview of Gjeilo’s background, in Chapter 1, and discusses its influence on his compositional philosophy. Chapter 2 contains musical examples from selected works, which are used to illuminate unique attributes found in Gjeilo’s music. Chapter 3 presents important implications to consider aiding choral conductors in their preparation of future performances of Gjeilo’s music.
Date: May 2012
Creator: Schmidt, Brian A.
Partner: UNT Libraries

Ocean of Forms: for Soprano and Computer

Description: Ocean of Forms is a cycle of five songs for solo soprano voice and electronic/computer music accompaniment on poems by noted Bengali poet, musician, philosopher, and author Rabindranath Tagore. This work approaches the song cycle as a vehicle for expressing and highlighting the poet's words. Word and syllabic stress, text painting, melodic development, and formal structure all function in relation to the text and its meaning. the replacement of the traditional piano accompaniment with electronic accompaniment provides further possibilities for new timbral structures and transformations, expressive microtonal intonation, algorithmic and aleatoric formal structures, acousmatic and spatialized sound, and a broad sonic palette. This work strives to provide a more fully developed expression of the text as afforded by these expanded musical means. the critical essay primarily explores the interaction between text and music in the work. the first chapter explores the historical precedents for the genre of the song cycle and other texted music as well as specific influences on the work. the following chapters explore the connections between the text and the vocal line and electronic/computer music, respectively. the final chapter deals with the formal structure of the work, especially the justly-tuned harmonic scheme and its relation to the text.
Date: May 2012
Creator: Price, Lee Scott
Partner: UNT Libraries

The Natural Learning Process and Its Implications for Trombone Pedagogy

Description: This thesis considers the natural learning process as defined by Timothy Gallwey and Daniel Kohut. This learning theory is examined and applied to trombone pedagogy while also considering physiological attributes to trombone performance. a brief synopsis of the history and lineage of the trombone is considered in order to understand the current setting of the trombone medium.
Date: May 2012
Creator: Reider, Shane Robert
Partner: UNT Libraries

Analysis of Roger-ducasse’s Pastorale Pour Orgue

Description: Pastorale pour Orgue (1909) is Jean Jules Aimable Roger-Ducasse’s only solo organ composition, which demonstrates skillful use of organ colors and demands a virtuoso technique for performance. Writing Pastorale in 1909, Roger-Ducasse synthesized compositional styles and techniques of two very different compositional approaches – impressionism and classicism. This study examines the stylistic characteristics of Pastorale by Roger-Ducasse as examples of both of these influences. the synthesis in Pastorale is primarily evident in the combination of classical forms and generic references with impressionist harmony and color. Thus, examining these musical elements provides hitherto unexplored insights into Pastorale as a master solo organ work of the early twentieth century. the dissertation is divided into four chapters. the first chapter presents the purpose, the significance, and the state of research of the piece. in the second chapter, I examine the traits of classicism through genre, form, thematic variation and other classicist elements of the composition. the third chapter presents the traits of impressionism including harmonic parallelism, extended chords, pedal points, ostinatos, and whole-tone scales. in the fourth chapter, I summarize the study and make a suggestion for further research of the piece.
Date: May 2012
Creator: Kim, Jung-Won
Partner: UNT Libraries

Establishing Editorial Principles to Create a Performance Edition of Selections From Appunti Op 210 By Mario Castelnuovo-tedesco

Description: This paper examined editorial methods used in producing published versions of the music of Mario Castelnuovo-Tedesco (1895-1968). From this examination, I established some editorial principles to create a performance edition of five movements from book two of Castelnuovo-Tedesco’s Appunti op. 210. This paper includes a discussion of the sources and methods used in establishing editorial criteria. at the request of the Milanese guitarist Ruggero Chiesa (1933-1993), Castelnuovo-Tedesco set out to create a collection of didactic pieces for young guitarists. the pieces were to be collaboratively edited and fingered by Chiesa, and then given final approval by the composer. Unfortunately, the composer died before finishing the work. the pieces and sketches that survive exist in four volumes published by the Italian house, Suvini Zerboni, containing the pieces that Chiesa edited with the approval of Castelnuovo-Tedesco. the published edition also includes unedited pieces that did not undergo the collaborative process. with the goal of maintaining an unadulterated portrayal of the composer’s intentions, Chiesa presented these pieces as they appear in the manuscript. Much of the music is unidiomatic and either impossible or highly impractical to play. My study established some editorial principles for use in creating a performance edition of this work. the edition includes my engraving of the original unedited manuscript as well as ossia measures containing solutions to performance problems. the suggested solutions balance the perception of the composer’s intentions, established editorial practices, and idiomatic concerns to creating a playable edition.
Date: May 2012
Creator: Lee, Chris
Partner: UNT Libraries

Go-hyang (Ancestral Home) By David Burge: a Performer’s Guide to Integrating Korean Musical and Cultural Aspects

Description: David Burge (b. 1930) composed the work Go-Hyang (1994) inspired by his impressions of Korea. the purpose of this study is to provide a performance guide particularly for the benefit of non- Korean pianists. Each of the six pieces of Go-Hyang contains Korean musical and/or cultural references. This document details these aspects, obviously stated or implied through the work. Investigation into distinct characteristics and Korean elements of each of the six movements will involve sources from multiple fields. Interviews with both the composer and the pianist Young-Hae Han for whom the work was written answer many questions about performance issues. Once the Korean reference is examined, it will be related to performance consideration of each movement, in order. the result of this examination will provide the performer not only with beneficial information to facilitate the performance but also with some cultural background to enrich the interpretation of the work.
Date: May 2012
Creator: Lee, Soomin
Partner: UNT Libraries

Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra By Ned Rorem: Background, Analysis, and Performance Guide

Description: The purpose of the document is to present Ned Rorem’s Sun (1966): Eight Poems in One Movement for Solo Voice and Orchestra. the eight songs are “To the Sun,” “Sun of the Sleepless,” “Dawn,” “Day,” “Catafalque,” “Full Many a Glorious Morning,” “Sundown Lights,” and “From What Can I Tell My Bones?” the document is divided into four main chapters: 1) Background; 2) Poet and Poem Background; 3) Musical Analysis; 4) Performance Guide. Chapter 1 contains biographical information on Ned Rorem, and basic information of the work, Sun. Here, a relationship between the eight songs is presented. Chapter 2 discusses biography of poet and background of the poem. the poetry is examined to determine the theme and to identify imagery, and metaphor. Chapter 3 offers detailed musical analysis for each of the eight songs and interludes. Chapter 4 provides performance guide which offers assistance in forming personal interpretation and brief specifies to singers who wish to perform this work. Appendix a includes tonality, difficulty, tempo, form, theme, range, and orchestration of each song and interlude. This study serves as a reference guide for performers of Sun.
Date: May 2012
Creator: Jung, Soohee
Partner: UNT Libraries

Korean Traditional Elements and Contemporary Compositional Techniques in Hyowon Woo’s Choral Music As Reflected in Gloria

Description: Among native Korean choral composers, Hyowon Woo has emerged as one of the most significant representatives of choral genre, both in Korea and internationally. She has created a new style of choral music that combines traditional Korean musical elements with contemporary Western compositional techniques, in a synthesis that generates new sonorities and effects. Her choral music falls into three basic categories: music employing direct quotation of Korean folk tunes or other elements, which produce typical Korean sonorities; music using Western practices, which produce modern and Western flavors; and music combining Korean traditional methods with modern Western concepts. Hyowon Woo’s unique contribution to contemporary Korean choral music is ideally represented by her Gloria, which will form the basis for this study. Because traditional Korean music culture has such a strong presence and influence on her choral compositions, detailed knowledge of these elements are essential for the study and performance of her work. The combination of traditional Korean music and Western contemporary techniques lies at the core of her compositional style, and is the principal focus of this study. A detailed understanding of these stylistic elements, both Korean and Western, and how they work together to achieve the composer’s purpose and vision, is vital to achieving an informed performance of this work. This study is intended to supply the conductor these needed tools and to add to the small but growing body of literature related to the performance practice not only of Woo’s significant body of choral compositions, but of Korean choral music in general.
Date: August 2012
Creator: Chang, Yoonchung
Partner: UNT Libraries

Correcting the Record: a Comparison of Vladimir Ashkenazy’s Urtext-based Edition of Pictures at an Exhibition with Orchestration By Ravel and Stokowski

Description: Modest Mussorgsky (1839-1881) never published his piano suite, Pictures at an Exhibition. The first publication of the Pictures was Nikolai Rimsky-Korsakov’s (1844-1908) piano edition in 1886, five years after Mussorgsky’s death. Among several piano editions of Pictures, Manfred Schandert’s urtext piano edition of 1984 has shed new light on the piano suite. The urtext edition is based on a facsimile of Mussorgsky’s autograph, and Schandert’s authoritative urtext contains all of Mussorgsky’s musical indications that previous editions neglected to include. Previous orchestrations based on less comprehensive editions include well-known orchestrations by Maurice Ravel (1875-1937) and Leopold Stokowski (1882-1977). Vladimir Ashkenazy (b. 1937), on the other hand, derived his orchestration directly from the Schandert edition. In this study I argue that Ashkenazy offers “corrections” to his predecessors, Ravel and Stokowski, whose orchestrations differ—at times radically—from Mussorgsky’s autograph. This dissertation thus will explore the significant features of Ashkenazy’s orchestration in relation to the urtext edition by comparing it to the orchestrations of Ravel and Stokowski. In an age of attempts to present “authentic” versions of past music, Ashkenazy’s orchestration provides an authenticity that other orchestrations lack. Ashkenazy’s orchestration of Pictures at an Exhibition provides conductors an alternative performance option that is both effective and more closely related to Mussorgsky’s autograph.
Date: August 2012
Creator: Choi, Hoon
Partner: UNT Libraries

Conductor Awareness of, Knowledge of, and Attitude Toward Sound Intensity Levels Generated During Ensemble-based Instructional Activities in College-level Schools of Music

Description: In 2011, the National Association of Schools of Music (NASM) took an official position to recognize the importance of hearing health and injury prevention as a standard for all member-accredited institutions. This is the largest national acknowledgement promoting hearing health and safety within the music discipline and among students seeking a music degree in the United States. The purpose of the study is to describe what conductors (i.e., instructors) of college-based ensembles know about hearing health and the generation of sound intensity levels. The study aimed to describe the 1) current state of conductors’ awareness and knowledge of sound intensity levels, 2) current attitudes of conductors toward learning and sharing knowledge of sound intensity levels, and 3) current teaching practices of conductors in regard to equipment usage (e.g. sound level meter, noise dosimeter, hearing protection devices) relating to sound measurement and exposure. Findings indicate 80.2% of conductors (N = 162, 66% employed by NASM-accredited institutions) agree that sounds generated during ensemble-based instructional activities (EBIAs) in college-level schools of music are capable of harming human hearing, but 24.1% “do not know” if EBIAs they conduct ever exceed sound intensity levels capable of harming human hearing, 54.9% do not know “what services or resources” their home institutions offer/refer to students, 93% are never using a noise dosimeter, 40% have never had an audiology exam, and 70% have never used hearing protection during an EBIA. Conductors have a strong openness to change current teaching practices and inform themselves about hearing health, but few are personally informing and educating their students during the EBIA. The study serves to assist conductors and foster a new dialogue among their students, colleagues, staff, and administrators to revise current curriculum, explore sound measurement technologies, and evaluate current hearing health and safety issues inherent in the practice, performance, and ...
Date: August 2012
Creator: Albin, Aaron J.
Partner: UNT Libraries

“Sounds for Adventurous Listeners”: Willis Conover, the Voice of America, and the International Reception of Avant-garde Jazz in the 1960S

Description: In “Sounds for Adventurous Listeners,” I argue that Conover’s role in the dissemination of jazz through the Music USA Jazz Hour was more influential on an educational level than what literature on Conover currently provides. Chapter 2 begins with an examination of current studies regarding the role of jazz in Cold War diplomacy, the sociopolitical implications of avant-garde jazz and race, the convergence of fandom and propaganda, the promoter as facilitator of musical trends, and the influence of international radio during the Cold War. In chapter 3 I introduce the Friends of Music USA Newsletter and explain its function as a record of overseas jazz reception and a document that cohered a global network of fans. I then focus on avant-garde debates of the 1960s and discuss Conover’s role overseas and in the United States. Chapter 4 engages social purpose and jazz criticism in the 1960s. I discuss Conover’s philosophy on social responsibility, and how his contributions intersected with other relevant discourses on race on the eve of the civil rights movement. I argue that Conover embodied two personas: one as jazz critic and promoter in the United States, and the other as an international intermediary. In chapter 5 I discuss how Conover presented the avant-garde to his overseas audience. I argue that through his efforts to broadcast jazz impartially, he legitimized avant-garde and emphasized its qualities as art music. In chapter 6 I explore fandom studies as they apply to the formation of Music USA as a global fan network. I discuss the early roots of Conover’s interest in science fiction fandom as a motivation for the implementation of the Friends of Music USA (FOMUSA) groups. Chapter 7 concludes in a discussion of the deification of Conover though the medium of radio in the midst of the Cold War. ...
Date: August 2012
Creator: Breckenridge, Mark A.
Partner: UNT Libraries

Johann Nepomuk Hummel’s Transcriptions of Beethoven´s Symphony No 2, Op 36: a Comparison of the Solo Piano and the Piano Quartet Versions

Description: Johann Nepomuk Hummel was a noted Austrian composer and piano virtuoso who not only wrote substantially for the instrument, but also transcribed a series of important orchestral pieces. Among them are two transcriptions of Beethoven’s Symphony No. 2 in D Major, Op. 36- the first a version for piano solo and the second a work for piano quartet, with flute substituting for the traditional viola part. This study will examine Hummel’s treatment of the symphony in both transcriptions, looking at a variety of pianistic devices in the solo piano version and his particular instrumentation choices in the quartet version. Each of these transcriptions can serve a particular purpose for performers. The solo piano version is an obvious virtuoso vehicle, whereas the quartet version can be a refreshing program alternative in a piano quartet concert.
Date: August 2012
Creator: Kim, Aram
Partner: UNT Libraries

From Ritual to Art in the Puritan Music of Colonial New England: the Anthems of William Billings

Description: The manner in which Billings’s music contrasts with the Puritan musical ideal clearly demonstrates his role in the transition from ritual to art in the music of eighteenth-century New England. The tenets of Puritan worship included the restriction that music should serve primarily as a form of communal prayer for the congregation and in a secondary capacity to assist in biblical instruction. Billings’s stylistic independence from Puritan orthodoxy began with a differing ideology concerning the purpose of music: whereas Calvin believed music merely provided a means for the communal deliverance of biblical text, Billings recognized music for its inherent aesthetic worth. Billings’s shift away from the Puritan musical heritage occurred simultaneously with considerable change in New England in the last three decades of the eighteenth century. A number of Billings’s works depict the events of the Revolutionary War, frequently adapting scriptural texts for nationalistic purposes. The composition of occasional works to commemorate religious and civic events reflects both the increase in society’s approval of choral music beyond its nominal use in worship, both in singing schools and in choirs. With his newfound independence from Puritan ritual, Billings seems to have declared himself one of the United States of America’s first musical artists.
Date: August 2012
Creator: Dill, Patrick W.
Partner: UNT Libraries

Music of the Spheres: Astronomy and Shamanism in the Music of Urmas Sisask

Description: In 1619, Johannes Kepler published his magnum opus Harmonices mundi in which the astronomer derived distinct pitches and scales for each known planet in the solar system from calculations of various aspects of their orbital motions. This was the first theoretical realization of the ancient tradition of musica universalis (also called musica mundana), or music of the celestial bodies. It was not until the Estonian composer Urmas Sisask (b. 1960) began his compositional career by deriving his own “planetary scale,” however, that the theoretical musica universalis came into audible existence. Sisask’s work represents a distinctive musical voice among today’s choral composers, and although he is steadily gaining attention for his unique compositional style, only limited information exists about the specifics of his background, his interest in astronomy and shamanism, and the subsequent influence these interests have had on his choral music. At once traditional and modern, he bridges the gap between ancient Estonian folk song and the present. Through an application of exotic techniques including extreme repetition, ritualistically driving rhythms and sudden changes in timbre and texture; coupled with his own peculiarly crafted “planetary scale,” Urmas Sisask has created a completely unique body of work which is examined in this study by looking at representative works from his choral oeuvre including Gloria Patri…24 hymns for mixed choir, Magnificat, Ave Sol, and Benedictio.
Date: August 2012
Creator: Edmonds, David Michael
Partner: UNT Libraries

The Effect of Three Compositional Structures on the Compositional and Instructional Self-efficacy of Pre-service Music Teachers

Description: The purpose of this study was two-fold: 1) to compare the effects of three different composition tasks with varying degrees of structure on pre-service music teachers’ creative self-efficacy as composers and their instructional self-efficacy as pedagogues of composition; and 2) to describe through pre-service music teachers’ talk perceptions of composition and their experiences completing the three composition tasks. Participants (N = 29) were music education majors from three different sized universities in the northern-central region of the United States. At the beginning of the study, the participants answered a researcher-design self-efficacy questionnaire that measured (a) their self-efficacy as composers and (b) their self-efficacy as teachers of composition. Next, they composed three compositions of various task structures (unstructured, poem, and rhythm). Immediately after completing each task they again completed the self-efficacy questionnaire. Statistically significant mean differences between the pre-task administration of the measuring instrument and all three composition tasks were found for the pre-service teachers’ compositional self-efficacy. Statistically significant mean differences were also found between the unstructured task and the rhythm task, but not between the rhythm and poem tasks or the unstructured and poem tasks. For the pre-service teachers’ self-efficacy as pedagogues of composition question, the results were also statistically significant between the pre-task administration of the measuring instrument and all three composition tasks. Statistically significant mean differences were also found between the unstructured task and the rhythm task as well as the poem and rhythm tasks, but not between the unstructured and poem tasks. Additional data were gathered through semi-structured one-on-one interviews. Through their talk the pre-service music teachers commented that they enjoyed the overall composition process. This experience also seemed to challenge the participants’ assumptions about composition and appeared to make creative experiences more tenable and relevant to their future classroom experiences. The results of this study suggest ...
Date: August 2012
Creator: Hauser, Christian Vernon
Partner: UNT Libraries

Performing the “Classical”: the Gurukula System in Karnatic Music Society

Description: Recent scholarship has revealed that the representation of Karnatic music as a “classical” art form in South Indian society was a complicated process bound to the agendas of larger early twentieth-century nationalist projects in India. This thesis explores the notions of classicalness as they are enacted in Karnatic music society through the oral transmission process from guru to shishya, or disciple. Still considered one of the most important emblems of the “classical,” the gurukula (lit. “guru-family”) system has been transformed to accommodate more contemporary lifestyles and reinscribed within many other social and musical processes in South Indian classical music society. This thesis examines the everyday interactions between members of Karnatic music society, particularly the clapping of t?la during a Karnatic music concert and the musical exchanges between percussionists onstage during the tani ?vartanam (Karnatic percussion solo), as public performances reminiscent of the relationship between guru and shishya.
Date: August 2012
Creator: Harris, Myranda Leigh
Partner: UNT Libraries

“A Metaphor for the Impossibility of Togetherness”: Expansion Processes in Gubaidulina’s First String Quartet

Description: This thesis illustrates how I hear processes of expansion organizing musical materials in the First String Quartet. By employing a flexible approach to expansion and developing models of wedge and additive expansions beyond the bounds of specific voice-leading or rhythmic augmentation procedures, expansion processes can be understood in each of the varied episodes of the quartet. Gubaidulina’s use of expansion processes, embodied organically in pitch, rhythm, form, and physical space, unifies the episodic materials of the First String Quartet and provides an inevitable conclusion to the work’s loose narrative.
Date: August 2012
Creator: Stroud, Cara
Partner: UNT Libraries

Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects in Liszt's Hungarian Rhapsodies Nos 6, 10, and 12

Description: Liszt's Hungarian Rhapsodies are uniformly considered highly challenging in terms of technical execution. However, their artistic value is frequently questioned. This dissertation examines the compositional elements that are often overlooked in these virtuoso works, and provides a viewpoint into their interpretative characteristics. Furthermore, it pursues a claim that besides being excellent performance pieces, these works also make an intriguing contribution to Liszt scholarship, and deserve meaningful consideration in terms of their artistic quality. Following the Introduction (Chapter 1), Chapter 2 provides a brief historical perspective of the critical affirmation Liszt the composer encountered from the musical society. It also includes a short background on Liszt's Hungarian Rhapsodies, as well as the general reactions these works evoked from pianists, audiences, and scholars, during the time they were composed to the present day. As the main body of the dissertation, Chapter 3 investigates the three primary compositional concepts found in Rhapsodies Nos. 6, 10, and 12. These concepts are divided into three subchapters: Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects. Each of these subchapters provides explanatory information, as well as some of the most characteristic passages presented.
Date: August 2012
Creator: Vidovic, Silvije
Partner: UNT Libraries

The Impact of the Development of the Fortepiano on the Repertoire Composed for It From 1760–1860

Description: The relationship between piano manufacturer and composer is interactive, and consequently both compositions and performance styles evolved organically due to this relationship. Early on, the instrument had more influence on the composer, whereas with the instrument’s establishment, composers began to exert more influence on the subsequent development of the instrument through their requests of manufacturers. The relationship between pianist-composers and manufacturers is important for pianists to study and understand, as well as the actual sound of a composer’s fortepiano and the way he performed on it. Through studying the development of the piano and the relationship between manufacturers and composers, pianists can reinterpret compositions before the mid nineteenth century, such as Mozart, Beethoven, Dussek, Chopin, and Liszt, using their knowledge of the aforementioned to bring a different perspective to their performances on the modern piano. There are numerous manufacturers and composers who made important contributions to the development of the piano. This dissertation focuses on selected pianist-composers and fortepiano manufacturers, and the impact of their relationship on piano literature before 1860.
Date: August 2012
Creator: Lin, Chao-Hwa
Partner: UNT Libraries