UNT Libraries - Browse

ABOUT BROWSE FEED

The Crucifixion

Description: The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.
Date: December 1993
Creator: Yang, Chuan-Tsing

Ka: a Composition for Chamber Orchestra in One Movement

Description: Ka is a one movement composition for chamber orchestra consisting of three sections. The work's harmonic, melodic and rhythmic materials are derived from the Chinese I Ching ("Book of Changes"). The middle section was composed with the aid of a computer program written by the composer. The program generated the interval sequence arrays forming the harmonic basis for the piece. Ka is scored for flute, oboe, B𝄬 clarinet, bassoon, French Horn, trumpet, trombone, three percussionists, violin, viola, cello and double bass. The score is 62 pages with a 39 page analysis preceding the score. Ka has a duration of approximately 10 minutes with no pauses between sections.
Date: December 1993
Creator: Morgan, Christopher R. (Christopher Robert)

Animations: A Composition for Percussion and Computer Music on Tape

Description: Animations is a composition in six movements (Fish, Seals, Birds, Cats, Zebras, Snakes) for percussion and computer music on tape. One percussionist performs on various percussion instruments: two suspended cymbals, crotales, triangle, vibraphone, glockenspiel, marimba, three bongos, snare drum, field drum, large tom-tom, bass drum, kettle drum, temple blocks and vibraslap. The computer music on tape employs sampled sounds in a MIDI sequencing environment. The melodic and harmonic materials for the piece are derived from a matrix of twelve heptatonic scales. The individual movements are notated using both traditional and proportional notation systems. The score is 37 pages long with a twenty-two page analysis preceding the score. Animations is approximately nine minutes in duration.
Date: August 1993
Creator: Criswell, Madeleine L.

House in Heaven

Description: House in Heaven is a theatrical piece for five solo voices (one soprano, two mezzo sopranos, one baritone, and one bass), two trumpets, four French horns, one trombone, two flutes, two clarinets, two bassoons, string orchestra, vibraphone, timpani and a synthesizer which produces pipe organ sound. The composition consists of an introduction followed by a single act in three Scenes. The piece employs the cyclical device in engaging themes associated with particular characters. The texture grows from simple alternating dialogues to arias and, finally, to tutti passages in which all voices are combined to form a quintet, at the climactic point of the entire composition, which occurs at the end of the piece. The scenes depict imaginary events in a Church and at a flower garden. Rear-stage slide projections are used to project the scenes of these locations, and lighting is used to emphasize actions, characters and changes of scene. The singers also serve as actors. The duration of this work is approximately 20 minutes.
Date: December 1993
Creator: Gan, On C. (On Cally)

The Last Seven Words

Description: The Last Seven Words is an orchestral piece with double woodwind, double brass, and two sets of timpani. The duration of the work is seventeen minutes. The forty-six 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 write an orchestra piece with a single scale and seven rhythmic patterns.
Date: August 1993
Creator: Chong, Lok-Shing

“Sunken Monadnock”: a Composition for Flute, Clarinet, Bassoon, Violin, Violoncello, Electric Guitar, Piano, Percussion, Three Female Vocalists, and Computer

Description: Sunken Monadnock is a scripted combination of three modular musical surfaces. The word “surface” is borrowed from Morton Feldman, who compared the aural surface of music to the canvases of the action painters of the American Abstract Expressionists, and contrasted it with the work’s subject, or organizational structure. Composers’ transition toward a focus on surface through indeterminate compositional techniques, according to Feldman, parallels the development of modernist abstract art. “Sunken Monadnock: Composing with Visual Metaphors” is a companion critical essay that takes the surface/subject metaphor as a starting point for analyzing Sunken Monadnock.Other visual metaphors that inspired Sunken Monadnock, and are discussed in the essay, include Shakir Hassan Al Said’s mystical semiotics, Jasper Johns’s crosshatch prints, and Wassily Kandinsky’s theory of abstraction. The circle and spiral, especially, play influential roles in Sunken Monadnock as reflected by musical applications of repetition, rotation, compression/rarefaction, and endlessness. The void in the circle’s center also comes into play. The nature of the work’s formal counterpoint requires an innovative approach to the score, which consists of five sections, each of which reflects a different approach to the aural surface (i.e., to the traversal of time). The two outer sections are traditionally scored, but the three sections in the middle—labeled “Surfaces” are played simultaneously by three subsets of the ensemble. The piece is approximately 22 minutes long.
Date: December 2013
Creator: Harris, Joshua Kimball

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

Vox Organalis

Description: Vox Organalis is a concerto for organ and orchestra. It employs an ensemble comprising the compliment of wind, percussion, and string instruments normally available within a contemporary symphony orchestra with augmented brass and woodwind sections. It is intended to be performed with a large organ such as might be found in a symphony hall or large church. The work is in two movements, and its intended performance time is twenty-five minutes. Use of the concerto format within Vox organalis results in a new approach to organizing the interaction between the solo part and the orchestral accompaniment. The organ part is notated in traditional metered notation, but the orchestral notation is organized in units of clock time (seconds). The horizontal spatial arrangement of the orchestral notation corresponds to the timing of the metered organ part. Pitch organization in Vox Oraanalis is derived from a twelve-tone row based upon the natural harmonic series. Several techniques of serial composition were used to organize and select elements of the tone row for use in the construction of the work. Use of the tone row for horizontal and vertical pitch structures provides unity to the pitch organization of the work. Vox Organalis is constructed in 12 sections which help define the formal shape of the work. Four of these sections comprise Movement I, and eight are contained by Movement II. The length of the formal sections are based upon the series of natural harmonic numbers from which the tone row was derived.
Date: December 1989
Creator: Baczewski, Philip

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)

Cenotaph: A Composition for Computer-Generated Sound

Description: Cenotaph is a work of fifteen minutes duration for solo tape realized on the Synclavier Digital Music System at the Center for Experimental Music and Intermedia. All of the sound materials in the work consist of resynthesized timbres derived from the analysis of digital recordings of seven different human voices, each speaking the last name of one of the Challenger astronauts. The work's harmonic resources are derived in a unique way involving partitioning of the octave by powers of the Golden Section. The work is in a single movement divided into three sections which function as prologue, action, and epilogue, respectively. This formal structure is reinforced by differentiation of harmonicmaterials and texture. Although Cenotaph cannot be performed "live" and exists only as a recording, a graphic score is included to assist analysis and study.
Date: August 1990
Creator: Rogers, Rowell S. (Rowell Seldon)

I, Blavatsky: A One-Act Opera

Description: I, Blavatsky is a one-act opera based on the life of Helena Petrovna Blavatsky, a nineteenth-century Russian princess and co-founder of a religious organization called the Theosophical Society. The libretto, by the composer, involves a cast of three principal soloists and minor roles for six more singers who are also participants in a small chorus. The text format features free verse alternating with regular, rhymed strophes. Accompaniment is provided by a piano. Melodic structure combines some nineteenth-century Romantic idioms with twentieth-century style. Most of the melodic and harmonic material was intuitively composed to express the text. Rhythmic and stylistic contrasts are accomplished in the representation of the extensive travels of the main character. Stage directions involve a stylized set, several scenes requiring minimal set changes, magical effects to represent that facet of Blavatsky's life, and onstage costume changes for several characters. Approximate duration is one hour.
Date: May 1990
Creator: Cooper, Steve, 1951 Dec. 4-

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-

A Voice Crying in the Wilderness: An Opera Based on the Life of John the Baptist

Description: "A Voice Crying In The Wilderness," an opera in two acts, is written for baritone soloist (John) and chorus with minor singing roles for two sopranos, mezzo soprano, tenor, a major speaking role for male falsetto voice, and three lesser speaking roles for tenor voices. Members of the chorus are required to play an assortment of percussion instruments and must be able to dance in contemporary modern dance styles. The opera is scored for large string orchestra, amplified solo viola, two electronic "digital" keyboards, and a large assortment of percussion instruments. (The keyboard scores were conceived using the "CZ-1" model digital synthesizer by Casio and the "KORG DW 8000" digital synthesizer.) The opera is divided into two acts and is approximately 80 minutes in duration. Each act consists of a combination of very broad scene complexes made up of dances, recitatives, choruses, instrumental interludes, arias, and rituals. There is a short intermission between the two acts.
Date: August 1987
Creator: Irvin, Nat, 1951-

Archetypal Dreams

Description: In the composition Archetypal Dreams, musical imagery is created through motifs and ideas that represent the symbolic messages of the unconscious. These motifs are introduced, developed, transformed, and overlapped in contrapuntal dialogue. This unfolding of material grows in significance and complexity building to a resolution of tension. The relationship of motifs to the row is re-established and the row is reconstructed. In this manner the conscious and unconscious elements of the personality are symbolically reconciled. The four movements of the work are entitled: I. Primordial Images; II. Archaic Remnants; III. Mythological Motifs; IV. The Process of Individuation
Date: August 1987
Creator: Hanson, Dan L.

Sacred Symphony

Description: Sacred Symphony is a work for orchestra, chorus and 8 soloists. It is scored for three horns in F, three trumpets in B flat (1st doubling trumpet in C), tenor trombone, bass trombone, percussion, celesta, piano and strings. The percussion consists of suspended cymbal, glockenspiel, vibraphone, marimba, bass marimba, tenor drum, snare drum, bass drum, two slit drums (4 tom-toms if unavailable), small triangle, and finger cymbals. The work is in three movements: Sanctus, Beatitudes (Matt. 5: 3-12) and Gloria. The Sanctus primarily gives glory to God the Father while the Beatitudes are Christ's own words. The Gloria acts as a culmination of the previous two movements because it gives glory to both the Father and the Son.
Date: August 1989
Creator: Lemieux, Glenn C. (Glenn Claude)

Blueline Concerto: Critical Essay

Description: The purpose of this critical essay is two-fold. First, the essay presents a detailed critical analysis of my original composition, Blueline Concerto for bass trombone and wind ensemble. Second, using Blueline Concerto, the essay presents preliminary findings of my study to develop an approach to composing that takes into account the musicians' health, specifically regarding noise induced hearing loss (NIHL). Through various hypothesized composition- and orchestral-based approaches, I test effectiveness on changes in NIHL risk while also noting that artistic merit and compositional integrity is preserved.
Date: August 2013
Creator: Lamb, Christopher

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)

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.

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

A Wedding Ceremony: Processional, Kyrie, Alleluia!, Hosanna!, Recessional

Description: A Wedding Ceremony is a composition of approximately 17 minutes in duration and is scored for horn in F, two trumpets in B-flat, trombone, two percussionists (timpani, roto toms, chimes, snare, triangle, suspended cymbal), 2-part boys choir, female soprano, and organ. The work consists of five parts of a mass, the Processional, Kyrie, Alleluia!, Hosanna!, and Recessional, with texted sections being taken from the Latin mass. The work is intended for a sacred wedding service of any denomination. The work was composed with the traditional aspects of the Latin mass in combination with a contemporary setting.
Date: May 1998
Creator: Cieminski, Theresa

In Nomine Domini

Description: In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini applies the English art of change ringing and three computer-assisted composition techniques: stochastic processes, fractal applications, and conditional probabilities.
Date: August 1995
Creator: Crowley, Timothy R. (Timothy Robert)

Song of Pi-Pa

Description: Sona of Pi-Pa is a composition set to a poem to be performed by soprano and mixed instrumental ensemble. The formal plan is through-composed and the organization of each individual piece is largely determined by the structure of the poetic text. The text, drawn from Song of Pi-Pa by Po Chu-i, depicts the story of how the poet became overwhelmed by the chance hearing of a virtuosic performance of a woman playing the pi-pa. The general characteristics of the work reflect the assimilation of certain non-western musical and philosophical influences. Traditional western compositional techniques are also employed in the treatment of thematic materials, musical form, instrumentation, and the developmental process. The total performance time for this composition is approximately twenty-six minutes.
Date: August 1994
Creator: Tseng, Yu-Chung, 1960-

Chaos, Cosmos, and Communion: Three Movements for String Quartet

Description: The three movements of this piece are related proportionally in that movements one and two represent three-fifths of the length of the whole. Movement three represents two-fifths of the length of the whole. Another proportional relationship exists between movements one and two. Movement one represents two-fifths of the length of the first two movements, while movement two represents three-fifths of the length of the two. An additional link between the three movements is pitch content. Movements one and two have little in common in this regard, but movement three combines elements of the first two. The duration of the entire piece is approximately fifteen minutes.
Date: August 1994
Creator: Moran, David W. (David Wayne)

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