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The Famous Mr. Keach: Benjamin Keach and His Influence on Congregational Singing in Seventeenth Century England

Description: Benjamin Keach (1640-1704) was a seventeenth-century preacher and hymn writer. He is considered responsible for the introduction and continued use of hymns, as distinct from psalms and paraphrases, in the English Nonconformist churches in the late seventeenth century, and is remembered as the provider of a well-rounded body of hymns for congregational worship. This thesis reviews the historical climate of seventeenth-century England, and discusses Keach's life in terms of that background. Keach's influence on congregational hymn singing, hymn writers, preaching, and education is also examined. Keach's writings and contributions to hymn singing are little known today. This thesis points out the significance of these writings and hymns to seventeenth-century religious life.
Date: August 1984
Creator: Carnes, James Patrick

Finding the "Indian" in Amy Beach's Theme and Variations for Flute and String Quartet, op. 80.

Description: Music that is categorized as part of the Indianist movement in American music (ca. 1890-1925) typically evokes Native American culture, ritual, story, or song through compositional gestures. It may also incorporate Native American tunes. Amy Beach (1867-1944) is considered to have composed five Indianist works, but her Theme and Variations for Flute and String Quartet, op. 80 has not been included as one of them. This thesis rethinks categorization of the piece, seeking the "Indian" in it through examination of its gestures, instrumentation, and relationship to contemporary Indianist compositions.
Date: December 2007
Creator: Burgess, Stephanie J.

Foreignizing Mahler: Uri Caine’s Mahler Project As Intertraditional Musical Translation

Description: The customary way to create jazz arrangements of the Western classical canon—informally called swingin’-the-classics—adapts the original composition to jazz conventions. Uri Caine (b.1956) has devised an alternative approach, most notably in his work with compositions by Gustav Mahler. He refracts Mahler’s compositions through an eclectic array of musical performance styles while also eschewing the use of traditional jazz structures in favor of stricter adherence to formal ideas in the original score than is usual in a jazz arrangement. These elements and the manner in which Caine incorporates them in his Mahler arrangements closely parallel the practices of a translator who chooses to create a “foreignizing” literary translation. The 19th-century philosopher and translation theorist Friedrich Schleiermacher explained that in a foreignizing translation “the translator leaves the writer alone as much as possible and moves the reader toward the writer.” Foreignizing translations accentuate the otherness of the original work, approximating the foreign text’s form and syntax in the receiving language and using an uncommon, heterogeneous vocabulary. The resulting translations, which challenge readers with their frequent defiance of the conventions of the receiving linguistic culture, create literal, exaggerated readings that better convey authors’ characteristic use of their own languages for a new audience. My study of Caine’s music—which includes a survey of previously unavailable manuscripts and an exploration of selected arrangements using an analytical method designed to address the qualities in music that parallel foreignizing translation-contextualizes Caine’s modifications to Mahler’s compositions to generate intertextual readings that simultaneously highlight the ways that Mahler was innovative within his own tradition.
Date: August 2015
Creator: Ritchie, J. Cole

Form, Style, Function and Rhetoric in Gottlob Harrer's Sinfonias: A Case Study in the Early History of the Symphony

Description: Gottlob Harrer (1703-1755) composed at least twenty-seven sinfonias for his patron Count Heinrich von Bruhl in Dresden from 1731-1747, placing them among the earliest concert symphonies written. Harrer's mostly autograph sinfonia manuscripts are significant documents that provide us with a more thorough understanding of musical activities in and around Dresden. Several of the works indicate topical references, including dance, march, and hunt allusions, that comment on the Dresden social occasions for which Harrer composed these works. Harrer mixes topical references with other gestures in several of his sinfonias to create what I believe is an unrecognized affective language functioning in instrumental works of the time. An examination of the topical allusions in Harrer's works solidifies their connection to the social milieu for which he wrote them, and therefore better defines the genre of the concert sinfonia of the time. The first part of this study of Harrer's sinfonias addresses evidence about the composer, his patron, Dresden society, and the circumstances surrounding the first performances of several works, musical evidence of the composer's stylistic and formal approach to the genre, and the rhetorical meaning of topical gestures in the scores in ways not yet explored. In this dissertation, I demonstrate that the stylistic and formal characteristics of Harrer's sinfonias were often influenced by the function and context of their premieres. Part Two of the dissertation provides transcriptions of Harrer's sinfonias, making them available for performance and further study in the hope that such a holistic approach will enrich our appreciation of musical life in Dresden in the 1730s.
Access: This item is restricted to the UNT Community Members at a UNT Libraries Location.
Date: August 2003
Creator: Rober, Russell Todd

The Fourteen Seréstas of Heitor Villa-Lobos (1887-1959)

Description: The Fourteen Seréstas of Heitor Villa-Lobos comprise a group of songs that expresses Villa-Lobos's compositional technique for the voice. These songs are challenging as a topic because not much historical or analytical research has been done on them. I approach the topic by providing historical background on the modinha and how it relates to the serésta. This is followed by a descriptive analysis in the order of the set, which includes musical examples, chart diagrams, and comparisons of the seréstas to other works. I hope to have contributed valuable information to the research of these songs since Villa-Lobos wrote over ninety solo vocal songs which still await analysis and discussion. This thesis is a contribution toward narrowing this gap.
Date: August 1999
Creator: Sánchez, Noé

French Theories of Beauty and the Aesthetics of Music 1700 to 1750

Description: Studies of eighteenth-century French musical aesthetics have traditionally focused on questions of taste treated in the critical literature of the day. During the first half of the century, however, certain French writers were dealing with aesthetics in the stricter sense of the word, proposing theories of beauty that suited existing philosophical values. The treatises in which these ideas were set forth--Jean-Pierre de Crousaz' Traité du beau, Jean-Baptiste DuBos' Réflexions critiques sur la poësie et sur la peinture, Yves-Marie André's Essai sur le beau, and Charles Batteux' Les Beaux arts réduits à un même principe--are among the first learned writings to present the musical experience in something other than a mathematical or pedagogical light. This study investigates not only the role music played in these theories of beauty, but also the methodological problems inherent in translating this data into historical information.
Date: August 1982
Creator: Dill, Charles William

The Full Anthems and Services of John Blow and the Question of an English Stile Antico

Description: John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences of the stile antico concept. Identification of the Continental stile antico through pertinent treatises and scores revealed a marked distinction between its application and the English polyphonic art as seen in the work of John Blow. In the end, the peculiar nature of Restoration polyphony is seen to be derived from a number of factors, among them, the continuation of liturgical ceremonial within the independent English church, the flexibility of the English polyphonic medium with regard to new musical developments, and the interruption of England's cathedral music tradition just as Italian influence was beginning to be felt in liturgical music. ...
Date: August 1990
Creator: King, Deborah Simpkin

The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams

Description: The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.
Date: August 1996
Creator: Fledderus, France

Guilielmus Revealed: the Coherence, Dating, and Authorship of "De Preceptis Artis Musice"

Description: De preceptis is considered a major source of information on the origins of fauxbourdon, despite its being regarded as a disorganized compilation of multiple authorship, uncertain date, and unknown provenance. Internal cross-reference and writing mannerisms, however, show it to be a compilation of a single author's writings. Comparison of its pedagogical content to that of other theory treatises suggests that it was written c. 1500, not the accepted c. 1480. Evidence also indicates that Guillaume Garnier, a Flemish associate of Tinctoris and Gaffurius working in Italy, was its author. De preceptis ought to be considered a source, not for the origins of fauxbourdon, but for its reception-history, evidenced by the centrality of the parallel-consonance duet in Guilielmus's composition formulas, many of which resemble the frottola.
Date: December 1992
Creator: Hamrick, David (David Russell)

The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage.

Description: This study examines Liszt's use of the style hongrois in his Swiss book of Années de pèlerinage to reference certain sentiments he had experienced. The event that brought Liszt to Switzerland is discussed in Chapter 1 in order to establish an understanding of the personal difficulties facing Liszt during the period when the Swiss book took shape. Based on Jonathan Bellman's research of the style hongrois, Chapter 2 examines the Swiss pieces that exhibit musical gestures characteristic of this style. Bellman also introduced a second, metaphoric meaning of the style hongrois, which is discussed in Chapter 3 along with Liszt's accounts from his book Des Bohémien as well as the literary quotations that are included in the Swiss book. Together, the biographical facts, the accounts from Des Bohémien, and the literary quotations show that Liszt was using the style hongrois to substantiate the autobiographical significance of the Swiss book.
Date: May 2008
Creator: Tan, Sok-Hoon

In-between Music: The Musical Creation of Cholo Identity in Cochabamba, Bolivia

Description: Music and identity are inextricably linked. While a particular social or ethnic group's music may reflect characteristics of that group, it also functions in creating the identity of the group. In Andean Bolivia, the choloethnic group has very subjective and constantly changing boundaries. Cholo-ness is made possible through mediated cultural performances of all types, in which members actively choose elements from both criollo and Indian cultures. Music is one particularly effective way in which cholos create and maintain their identity. This thesis focuses on the ways in which cholos use music to create a hybrid identity in and around Cochabamba, Bolivia.
Date: August 2007
Creator: Jones, Eric

The Intimacy of Death: Mahler’s Dramatic Narration in Kindertotenlieder

Description: There has been relatively little scholarship to date on Mahler’s Kindertotenlieder. The writings about this song cycle that do exist primarily focus on the disparate nature of the poems and justify Kindertotenlieder as a cycle by highlighting various musical connections between the songs, such as keys and motivic continuity. Mahler, however, has unified the cycle in a much more complex and sophisticated way. His familiarity with Wagner’s music and methods, and his mastery of the human voice and orchestral voices allowed him to weave a dramatic grief-laden narrative.
Date: May 2014
Creator: Strange, AnnaGrace

It's Not Fusion: Hybridity in the Music of Vijay Iyer and Rudresh Mahanthappa

Description: This thesis concerns the performance of identity in the music of Indian American jazz musicians Rudresh Mahanthappa and Vijay Iyer. In combining the use of Indian classical music elements with jazz, Iyer and Mahanthappa create music that is inextricably tied to their multifaceted identities. Traditional musicological analysis is juxtaposed with a theoretical framework that draws on postcolonial theory and the history of Asian immigrant populations to the U.S. I chronicle the interactions between Indian and Western music and link it to larger issues of Asian American identity formation and activism through music. Through interviews and transcriptions of studio recordings, I identify specific compositional and improvisational strategies of the musicians. I emphasize the role of individual agency in the formation of second-generation identities, drawing attention to the distinct ways that Iyer and Mahanthappa approach their music. Finally, I connect this research to a larger discourse on Indian American artistic identity.
Date: December 2012
Creator: Govind, Arathi

Jean-Georges Kastner's Traité general d'instrumentation: A Translation and Commentary

Description: Georges Kastner's (b Strasbourg 9 March 1810; d Paris 19 December 1867) Traite général d'instrumentation (1837), an important contribution to instrumentation study, is often overlooked because of its chronological proximity to Berlioz's Grand traité d'instrumentation (1843). Kastner's complete and concise treatise discusses the standard orchestral instruments and several obscure and ancient instruments. Intended principally for young composers, it provides the most detailed descriptions of the standard wind instruments of his day and discusses recent developments like the ophicleide and valved brass instruments. After the publication of the Traité, Kastner released a supplement including Aldophe Sax's newest innovations, entitled Cours d'instrumentation, which included musical examples of principals discussed in the Traité. Both the Traité and the Cours were accepted by the Academy and adopted by the Paris Conservatoire.
Date: May 2003
Creator: Woodward, Patricia Jovanna

Johann Anton Kobrich's Wohlgeübter Organist

Description: Johann Anton Kobrich (1714-1791) was the priest and organist of the parish church of Landsberg am Lech in upper Bavaria from 1730 until his death. A prolific composer, Kobrich wrote several works for organ, including the Wohlgeubter Organist (1762), a three-part collection of preludes, fugues, and toccatas. The major portion of this thesis consists of an edition of twenty-six selected pieces from the original fifty-eight in this collection. Also included are a bibliography of Kobrich, a discussion of his significance among other contemporary composers, and a survey of the organs and organ music of eighteenth-century southern Germany. In addition, there is an analysis of the Wohlgeubter Organist and a commentary on its significance.
Date: May 1982
Creator: Carnes, Nancy Warlick

Johann Friedrich Reichardt and His Liederspiel "Liebe und Treue"

Description: The purpose of this investigation is to examine Reichardt's reasons for his development of the genre Liederspiel. A brief biographical sketch of Reichardt reveals an innovative character who was responsible for several developments within the history of music. The Liederspiel was particularly affected by the French vaudeville. However, an investigation into the character of each shows that they are really quite different. A translation of an article by Reichardt from the Allgemeine Musikalische Zeitun discloses the purpose of the composer in his presentation of the Liederspiel to the public. The first Liederspiel was Liebe und Treue and was a complete success. The libretto and piano vocal score shows the construction of liebe und Treueand an English translation aids in its understanding.
Date: May 1979
Creator: Peacock, Daniel F.

The Keyboard Suites of Matthew Locke and Henry Purcell

Description: This work largely concerns the roles of Matthew Locke and Henry Purcell in the history of English keyboard music as reflected in their keyboard suites. Both, as composers of the Restoration period, integrated the French style with the more traditional English techniques--especially, in the case of Purcell, the virginalist heritage-- in their keyboard music. Through a detailed examination of their suites, I reveal differences in their individual styles and set forth unique characteristics of each composer. Both composers used the then traditional almain-corant-saraband pattern as the basis of the suite, to which they added a variety of English country dances. At the same time they modified the traditional dances with a variety of French and Italian idioms, thereby making distinctive individual contributions to the genre.
Date: August 1989
Creator: Kim, Hae-Jeong

Keyboard Tablatures of the Mid-Seventeenth Century in the Royal Library, Copenhagen: Edition and Commentary

Description: In the history of seventeenth-century European music the court of Christian IV (r. 1588-1648) occupies a position of prominence. Christian, eager for fame as a patron of the arts, drew to Denmark many of the musical giants of the age, among them the lutenist John Dowland and the composer Heinrich Schltz. Sadly, except for financial records and occasional letters still in the archives, few traces remain of these brilliant years in Denmark. The music composed and played during this half century has largely disappeared, most of it probably in the tragic fire of 1794 that destroyed the old Christiansborg Castle in Copenhagen and with it the court music archives. Except for the recently-discovered Clausholm Fragments, only three specimens of keyboard music from the period remain: Ny kgl. Saml. 1997 fol. (Obmaus Tablature), Gl. kgl. Saonl. 376 fol. (Copenhagen Tablature), and mu 6703.2131/6 (VoigtlaJnder Tablature). It has generally been assumed that the manuscripts were of German origin. The present study, however, demonstrates a probable Danish origin for the third, possible Danish connections for the second, and establishes that the first is of Austrian provenance. The Obmaus Tablature is an amateur's preservation of a German keyboard style already outdated. This slender manuscript, dated 1637, contains a total of ten "archaic" pieces exhibiting the peculiarities of keyboard dances and song settings from the late sixteenth century. The awkward style of the pieces leads to the conclusion that they were transcribed for keyboard--more literally than imaginatively--from lute originals. The Copenhagen Tablature, consisting of thirty-four folios, is of primary importance for its evidence of the spread of the French claveqin style and the development of the keyboard suite. Of the sixty-nine pieces the majority are French dance forms, several with doubles; also included are preludes, German dances, and settings of chorales, psalms, and secular songs. ...
Date: December 1973
Creator: Dickinson, Alis

The Lady of the Lake: a Reconstructed Piano-Vocal Score, with Commentary on the Historical Background

Description: The document consists of a commentary on the historical background of the work and an edition of the restored score. The commentary treats its relationship to the ballad opera, sources and alternate settings of the music and libretto, a history of the development of "Hail to the Chief," biographical sketches of the primary composers, and a section on early productions in England and America. The commentary includes a history of the English and American premieres, lengths of the first-runs, and the names of the theatres in which the performances were mounted. The reconstructed score is a piano-vocal performance edition with dialogue, cues, scenery, costume and property plots indicated in detail.
Date: May 1979
Creator: Knox, Robert E., Jr.

Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609

Description: This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.
Date: August 1995
Creator: Kim, Hae-Jeong

The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume I

Description: The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.
Date: August 1973
Creator: Thomas, Benjamin W., 1937-

The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume II

Description: The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.
Date: August 1973
Creator: Thomas, Benjamin W., 1937-

The Lute Books of Giulio Cesare Barbetta: A Polyphonic Transcription of the Composer's Complete Works and an Analysis of the Fourteen Fantasias Volume III

Description: The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.
Date: August 1973
Creator: Thomas, Benjamin W., 1937-

Mail Order Music: the Hinners Organ Company in the Dakotas, 1879-1936

Description: Founded in 1879 by John L. Hinners, the Hinners Organ Company developed a number of stock models of small mechanical-action instruments that were advertised throughout the Midwest. Operating without outside salesmen, the company was one of the first to conduct all of its affairs by mail, including the financial arrangements, selection of the basic design, and custom alterations where required. Buyers first met a company representative when he arrived by train to set up the crated instrument that had been shipped ahead of him. Tracker organs with hand-operated bellows were easily repaired by local craftsmen, and were suited to an area that, for the most part, lacked electricity. In all, the company constructed nearly three thousand pipe organs during its sixty years of operation. Rapid decline of the firm began in the decade prior to 1936 during which the company sold fewer than one hundred instruments, and closed in that year when John's son Arthur found himself without sufficient financial resources to weather the lengthy depression. The studies of the original-condition Hinners organs in the Dakotas include extensive photographs and measurements, and provide an excellent cross section of the smaller instruments produced by the company. They are loud, excellently crafted, functionally attractive, tonally typical of the early twentieth-century American Romantic organ, and utilize designs and materials typical of this era. Only recently has it been acknowledged that these Hinners organs represent a "meat and potatoes" class of instrument, as it were, an honest meal without the pretense of delicate appetizers, vintage wine, and gourmet dessert. In this way the company offered churches a serviceable and respectable musical alternative to grandeur, and was able to fulfill the needs and meet the budget of a small congregation without the expense of a custom instrument.
Date: August 1997
Creator: Alcorn-Oppedahl, Allison A. (Allison Ann)