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Innocents Abroad: The Love Story of Mark Twain and Olivia Langdon

Description: Innocents Abroad, a musical for the stage, deals with events in the life of Mark Twain, 1867-1869, particularly his courtship of Olivia Langdon and his efforts to establish himself as a writer. It emphasizes his struggle to be true to his individuality and outspoken honesty while trying to win "Livy," the product of the society he satirized and often condemned. The book, based on actual events, contains much of Twain's humor and wisdom. The vocal score is written in a contemporary style, for various vocal combinations, including full chorus and includes piano accompaniments and chord symbols for guitar and bass.
Date: December 1978
Creator: Pack, Dallan M.
Partner: UNT Libraries

jn4.gesture: An interactive composition for dance.

Description: jn4.gesture is an interactive multimedia composition for dancer and computer designed to extend the possibilities of artistic expression through the use of contemporary technology. The software produces the audiovisual materials, which are controlled by the movement of the dancer on a custom rug sensor. The software that produces the graphic and sonic material is created using a modular design. During run-time, the software's modules are directed by a scripting language developed to control and adjust the audiovisual production through time. The visual material provides the only illumination of the performer, and the projections follow the performer's movements. The human form is isolated in darkness and it remains the focal point in the visual environment. These same movements are used to create the sonic material and control the diffusion of sound in an eight channel sound system. The video recording of the performance was made on April 22, 2002. The work was produced in a specialized performance space using two computer projectors and a state of the art sound system. Arleen Sugano designed the costumes, choreographed and performed the composition in the Merrill Ellis Intermedia Theatre (MEIT) at the University of North Texas. The paper focuses on the design of the program that controls the production of the audiovisual environment. This is achieved with a discussion of background issues associated with gesture capture. A brief discussion of human-computer interface and its relationship with the arts provides an overview to the software design and mapping scenarios used to create the composition. The design of the score, a graphical user interface, is discussed as the element that synchronizes the media creation in "scenes" of the composition. This score delivers a hybrid script to the modules that controls the production of audiovisual elements. Particular modules are discussed and related to sensor mapping routines that ...
Date: May 2003
Creator: Holmes, Douglas B.
Partner: UNT Libraries

Just Intonation and the Revitalization of Neoclassicism: Three Works for Baroque Instruments

Description: For a composer of today, the relationship between new music and music from many centuries past remains problematic. In order to create something new, it is necessary to go beyond previous techniques of composition in some way. At the same time, new music that has no connection with music of the past runs the risk of irrelevance. Just tuning offers one possibility for reconciling this problem. By effectively warping music of the past through the lens of altered tuning and contemporary composition techniques, music of the past may be understood in previously unknown ways. Part I, the critical essay, presents historical background and analysis of a cycle of three works in altered/just tuning. Part II presents scores of the works.
Date: May 2008
Creator: Figg, Graham Elliot
Partner: UNT Libraries

Kidrish Fields

Description: Kidrish Fields, a pastoral fantasy, is scored for seven flutes, vibraphone, and cello. The duration of the work is eighteen minutes. The 62 pages which precede the musical score present a discussion and an analysis of the composition. The purpose of this project was to provide the composer an opportunity to apply polyphonic writing techniques within a score orchestrated for an ensemble of like instruments.
Date: August 1988
Creator: Job, Lynn R. (Lynn Renee)
Partner: UNT Libraries

Kinetico for Chamber Wind Ensemble

Description: This single movement work is written for 2 flutes, 2 oboes, 3 clarinets in Bb, bass clarinet in Bb, 2 bassoons, alto saxophone in Eb, 2 horns in F, 2 trumpets in Bb, trombone, euphonium, tuba, contra bass, and 3 percussion. The approximate length is eight minutes. Both traditional and proportional systems of notation are employed. The entire piece is freely chromatic with some implications of whole tone and other nondiatonic scales. The harmonies are tertian yet have no functional tonal basis. Changing meters with asymmetrical divisions are used in all sections except C and E, which have time indications (in seconds) for each measure with subdivisions to aid the conductor. There are seven major formal divisions: A B transition C retransition A' D E.
Date: August 1985
Creator: McDonald, Richard F. (Richard Frederic)
Partner: UNT Libraries

Land of Dreams

Description: LAND OF DREAMS is an opera in one act based on poems by the English poet William Blake. The work is for chamber orchestra, dancers, and an actor, as well as the vocal cast listed below. Cast of Characters Thomas Soprano The Father Baritone The Nurse Alto The Mother Mezzo Soprano The opera divides into eight sections with a total performance time of approximately forty minutes. Each section represents a different stylistic approach to the musical material. This juxtaposing of various styles is reflective of the eclectic nature of the text. The setting is England around 1800, the scene is a child's (Thomas) bedroom. All of the dramatic action takes place in this room in the various stages of the conscious (awake) and unconscious (asleep) states of the child's mind.
Date: December 1983
Creator: Sanders, Greg
Partner: UNT Libraries

Latin Mass for Choir, Orchestra, Soprano and Mezzo-Soprano Soloists

Description: The Latin Mass is a musical composition in five movements, scored for large choir, standard orchestra, and two soloists. The movements are the standard parts of the Roman Catholic Mass Ordinary. The language is set mainly in Latin with two exceptions: the Kyrie movement is set in Greek (which is the standard Roman Catholic setting), and the Credo is simultaneously recited in English and sung in Latin. The work is scored using conventional notation techniques and employs rather conservative technical demands on both the choir and orchestra. No extended techniques are required of any of the performers. It is set in a modal harmonic language.
Date: May 2003
Creator: Bonneau, Paul G.
Partner: UNT Libraries

Let Me Make it Simple for You

Description: Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.
Date: May 1990
Creator: Waschka, R., 1958-
Partner: UNT Libraries

The Light, for Two Narrators and Chamber Ensemble

Description: The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. In Scene Four, John relates his vision of final redemption. New Jerusalem descends from heaven, with the River of Life and the Tree of Life ready to bring healing to the nations. Sadly, some people are not welcomed into the city, and the drama pauses to give respectful consideration to their fate. Finally, the fifth scene celebrates the eternal victory over sin, death, and the serpent of Eden. As I composed The Light, I had in mind the dramatic profile, the general motivic progression and the fundamental structural progression. However, most of the intricate interrelationships among orchestration, drama, motive, and ...
Date: May 2003
Creator: Feezell, Mark Brandon
Partner: UNT Libraries

Loose Id for Orchestra

Description: Loose Id, scored for orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets in B-flat, B-flat contrabass clarinet, 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B-flat, 2 trombones, 1 bass trombone, tuba, timpani, percussion (3 parts), violin I, violin II, viola, violoncello, and contrabass), is an abstract realization in sound of the energy of the Id. Unleashed, without the counterbalance of Ego or Superego, the Id generates unbridled instinctual energy, resulting in an orgiastic frenzy. Distinct from a state of dementia, this piece represents a thoroughly lucid and intentional rampage of self-indulgence. The accompanying essay examines the underlying structural principles of Loose Id, focusing on how they aid the creation of the overall experience of the piece. Particular attention is given to the concepts of linearity and nonlinearity and their roles in different levels of creative and listening processes.
Date: August 1996
Creator: Bryant, Steven 1972-
Partner: UNT Libraries

Mass

Description: Mass is written for large mixed choruswind ensemble consisting of woodwind quartet (flute, oboe, Bb clarinet, and bassoon), brass quintet (two Bb trumpets, F horn, trombone, bass trombone), and recorded digital synthesizer. This setting of the Ordinary is in Latin and includes the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The duration of the work is approximately twenty-seven minutes.
Date: August 1985
Creator: Rothe, Eric V. (Eric Vaughn)
Partner: UNT Libraries

Matador

Description: Matador is an opera scored for orchestra, mixed chorus and soloists (mezzosoprano, 3 tenors, 2 baritones). The work is in one act divided into two main sections. Each of these sections is divided into subsections. The libretto is aphoristic in nature and dictates the form of each of these subsections. The division into two parts also serves as a means to evoke a sense of hopelessness of emotions in the first and a transforming disposition that culminates in a jubilant song in the second.
Date: May 1998
Creator: Patino, Julio
Partner: UNT Libraries

Mobiles

Description: Mobiles is a composition for an ensemble consisting of 12 instruments. The piece, in one movement, incorporates intuition, chance, and twelve tone techniques and reflects the relationship between motion and rest or tension and release. The structure is modeled according to principles of growth and decay, starting off slowly, building, and then dying away. Much of the material is inspired by mental images invoked from modern theories concerning chaos. Mobiles' character stems from the principal use of two motives, the chaos motif and the echo motif. Primarily, the chaos motif is representative of a state of motion while the echo motif represents a state of rest. Mobile architecture is usually characteristic of symmetry, balance, and proportion, but because of uncertainty in a natural environment, this proportion often falls short of a perfect symmetrical balance as in the case of a crystal or a fractal design. It is this kind of architecture that Mobiles portrays in its form and developmental process.
Date: August 1997
Creator: Whitworth, Clifford K. (Clifford Kirk)
Partner: UNT Libraries

Mysterium Cosmographicum, for Orchestra, Narrator/Actor, and Computer Music on Tape

Description: Mysterium Cosmographicum is a musical chronicle of an astronomy treatise by the German astronomer Johannes Kepler (1571-1630). Kepler's Mysterium cosmographicum (Tubingen, 1596), or "Secret of the Universe," was a means by which he justified the existence of the six planets discovered during his lifetime. Kepler, through flawless a priori reasoning, goes to great lengths to explain that the reason there are six and only six planets (Mercury, Venus, Earth, Mars, Jupiter, and Saturn) is because God had placed one of the five regular solids (tetrahedron, cube, octa-, dodeca-, and icosahedron) around each orbiting body. Needless to say, the publication was not very successful, nor did it gain much comment from Kepler's peers, Galileo Galilei (1564-1642) and Tycho Brahe (1546-1601). But hidden within the Mysterium cosmographicum. almost like a new planet waiting to be discovered, is one of Kepler's three laws of planetary motion, a law that held true for planets discovered long after Kepler's life-time. Mysterium Cosmographicum is a monologue with music in three parts for orchestra, narrator/actor, and computer music on tape. All musical data structures ape generated via an interactive Pascal computer program that computes latitudinal and longitudinal coordinates For each of the nine planets as seen From a Fixed point on Earth For any given time Frame. These coordinates are then mapped onto selected musical parameters as determined by the composer. Whenever Kepler reads From his treatise or From a lecture or correspondence, the monologue is supported by orchestral planetary data generated From the exact place, date, and time oF the treatise, lecture, or correspondence. To the best oF my knowledge, Mysterium Cosmographicum is the First composition ever written that employs planetary data as a supporting chronology to action and monologue.
Date: December 1989
Creator: Keefe, Robert Michael
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

I Never Saw Another Butterfly: A Composition for SATB Choir and Chamber Orchestra

Description: ...I never saw another butterfly... is a twelve movement chamber work scored for SATB choir, narrator, percussion I [vibraphone, and tomtoms (4)], percussion II [timpani (4), tam-tam, snare drum, and bass drum], guitar, violins I and II, viola, and cello and is based on the book of the same name. It contains a variety of compositional techniques, forms and genres.
Date: August 1997
Creator: Schneider, Gregory Alan
Partner: UNT Libraries

A New Song

Description: A New Song is a sacred contata in four parts written for mixed chorus, soloists, narrator, congregation, and chamber ensemble consisting of organ, brass ensemble, and percussion. It is designed to be performed within the limitations of a church sanctuary. The text is taken from the New American Standard Version of the Bible. The four parts are based on prophecies found in the book of Isaiah and the fulfillment of these prophecies as found in the New Testament books of Matthew, Luke, and John. The texture and orchestration throughout the contata change according to the mood of the text. For practical performance purposes, vocal parts are based on traditional harmonic, melodic, and rhythmic patterns, leaving the more complex patterns to the instrumental parts.
Date: December 1983
Creator: Remley, Rebecca D. (Rebecca Danner)
Partner: UNT Libraries

Night of Glass

Description: Night of Glass is for chamber orchestra with an estimated performance time of 14 minutes. The instrumentation for the work, using one player per part, is Flute (also small glass wind chimes), Oboe (also 1 tuned water crystal), Clarinet in A (also small glass wind chimes), Bassoon (also 1 tuned water crystal), Horn in F (also 1 tuned water crystal), Trumpet in C (also 2 tuned water crystals), Percussion (Vibraphone, Glockenspiel, Chimes, Bell Tree, Hammered Dulcimer, 3 Suspended Cymbals, 1 Large Tam-tam, 4 Roto Toms, 3 Tympani), Piano, 1st Violin, 2nd Violin, Viola, Cello, and Double Bass, While not programmatic, the work is divided into six sections each expressing a predetermined emotional content: fragility, anxiety, solitude, fear, catharsis, and reconciliation. All are emotional contents which are found in the dream-state that is reflected in the work's title. All aspects of Night of Glass (i.e., pitch material, form structure, and structural density) are centered around the unifying factor of emotional projection within each section. The work seeks emotional content through the expansion of composition procedures while being accessible to listeners.
Date: May 1988
Creator: Sanders, Gregory L. (Gregory Lynn)
Partner: UNT Libraries

The Nothingness of Presence: Sound, Ritual, and Encounter in the Music of Into Your Hands

Description: The ritual music written for the Compline service of the Liturgy of the Hours, Into Your Hands, is analyzed using an ontological and phenomenological approach, which seeks to answer how such sound/musical phenomena wed to the specific ritual dynamics of Compline in their own right can create a potential for encounter with the Divine. The Jewish philosopher Martin Buber’s understanding of encounter is used to show that the sound/musical phenomena in itself bears similarities with the nature of the Judeo/Christian God, and such a nature is revealed to be both irreducibly non-conceptual as well as an entity that establishes the ontological actuality of one’s being. Studies in the beginnings of humanity at large as well as the beginnings of the individual fetus reveal that an integrated expression of music and ritual can be said to have formed the impetus of such ontological beginnings through encounter. Therefore, one of the first sounds heard in the womb - that of water (or amniotic fluid) - constitutes what may be an archetypal sound of encounter. The phenomenological effects of such an archetype are analyzed in the music of Into Your Hands through topics such as the loss of aural perspective, immersion, dynamic swells, cyclic harmonic progressions, and simultaneity. Works of other composers who use similar techniques are discussed.
Date: May 2015
Creator: Evans, Eric
Partner: UNT Libraries

Now All the Fingers of This Tree

Description: Now All the Fingers of This Tree is a work in two movements based upon a poem of the same name by E. E. Cummings. It is divided into two movements: The first movement is scored for nine part solo soprano, where one performer records each of the nine vocal lines. The second movement is an electro-acoustic work derived from four phrases of the original recording of the first movement. Total duration of the work is approximately 19 minutes. The paper provides a detailed analysis of both movements as well as a discussion on usage of text, problems addressed with traditional notation techniques, and technology utilized in the production of the work.
Date: May 2003
Creator: Wood, Kelly Thomas
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

Persistence: for Wind Ensemble

Description: Persistence is a composition scored for piccolo, 2 flutes, 2 oboes, English horn, 2 bassoons, E-flat clarinet, 3 1st B-flat clarinets, 3 2nd B-flat clarinets, 3 3rd B-flat clarinets, bass clarinet, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 3 B-flat trumpets, 4 French horns in F, 2 trombones, bass trombone, baritone, tuba, timpani, and 4 auxiliary percussionists. The music consists of three movements, fast-slow-fast, lasting approximately eleven and one-half minutes. The three movements last three minutes and twenty seconds, five minutes and thirty seconds, and three minutes and ten seconds respectively.
Date: August 1997
Creator: Rickwood, Christopher M.
Partner: UNT Libraries

Perspectives on The Passion According to the Gospels of Matthew and John

Description: My thesis covers the materials and methods of my composition, The Passion According to the Gospels of Matthew and John. It features an extensive analysis of Penderecki's Passio et mors Domini nostri Iesu Christi secundum Lucam. The research also covers some history of the Passion genre and its development. The second half of the paper presents a background and analysis of my work. It details many of the creative processes and methods I employed.
Date: December 2008
Creator: Fryklund, Aaron
Partner: UNT Libraries

Piano Quintet

Description: The thesis is a traditional piano quintet in the manner of Bartok, incorporating compositional techniques such as golden ratio and using folk materials. Special effects on strings are limited for easy conversion to wind instruments. The piece is about 15 minutes long.
Date: May 1997
Creator: Tan, Chee-Tick
Partner: UNT Libraries