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Contours

Description: Contours is scored for full wind ensemble and percussion, and is approximately nine minutes in length. The title refers to the way melodic shape or contour is used to create unity and variety in the piece. Contours is a single-movement work containing three sections that are unified by thematic and harmonic materials. The melodic material is generated by three twelve-tone rows, which are then used in combination with freely composed material. The first and last sections are highly contrapuntal and rhythmically disjunct. Both sections share common rhythmic and melodic patterns. These sections are contrasted with a slower and more lyric middle section. This section is made of a series of episodes that create an overall A-B-A structure.
Date: August 1994
Creator: Hughes, Russell M., 1954-

Creating Musical Momentum: Textural and Timbral Sculpting with Intuitive Compositional Systems and Formal Design

Description: This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece, "Phase," including the application of number systems ranging from formal to local levels.
Date: August 2016
Creator: Robin, Bradley G.

The Creative Process in Cross-Influential Composition

Description: This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.
Date: May 2010
Creator: Anderson, Jonathan Douglas

Critical Discussion of Pleroma: A Digital Drama and Its Relevance to Tragic Form in Music

Description: Pleroma is a digital drama: a work composed of digital animation combined with electroacoustic music, presenting an original dramatic narrative. Pleroma's dramatic elements evoke both the classical form of tragedy and the concept of perceptual paradox. A structural overview of the drama and its characters and a plot synopsis are given to provide context for the critical discussion. Analytical descriptions of Beethoven's Coriolan Overture Op.62 and Mahler's Symphony No. 9 are provided to give background on tragic form and Platonic allegory in music. An investigation into the elements discussed in the analysis of the instrumental works reveals several layers of possible interpretation in Pleroma. Dramatic elements allow for tragic narratives to be constructed, but they are complemented by character associations formed by pitch relationships, stylistic juxtapositions, and instrumentation. A copy of the dramatic text is included to supplement the multimedia production.
Date: December 2010
Creator: Lucas, Stephen

Critical Discussion of Pleroma: A Digital Drama and Its Relevance to Tragic Form in Music

Description: Pleroma is a digital drama: a work composed of digital animation combined with electroacoustic music, presenting an original dramatic narrative. Pleroma's dramatic elements evoke both the classical form of tragedy and the concept of perceptual paradox. A structural overview of the drama and its characters and a plot synopsis are given to provide context for the critical discussion. Analytical descriptions of Beethoven's Coriolan Overture Op.62 and Mahler's Symphony No. 9 are provided to give background on tragic form and Platonic allegory in music. An investigation into the elements discussed in the analysis of the instrumental works reveals several layers of possible interpretation in Pleroma. Dramatic elements allow for tragic narratives to be constructed, but they are complemented by character associations formed by pitch relationships, stylistic juxtapositions, and instrumentation. A copy of the dramatic text is included to supplement the multimedia production: http://digital.library.unt.edu/ark:/67531/metadc33228/
Date: December 2010
Creator: Lucas, Stephen
Item Type: Video

Cultural and Technical Perspectives on Winter Landscape

Description: Winter Landscape is an interactive composition for erhu (Chinese two-stringed fiddle), flute, piano, and Max/MSP interactive computer music system. The total duration of the piece is approximately 15 minutes. Winter Landscape serves to demonstrate one particular approach to exploring the possibilities afforded in an interactive paradigm within a cross-cultural context. The work is intended to convey my personality and identity as a contemporary Chinese composer through diverse cultural and musical influences drawn to this particular piece while creating a balance between traditional and modern sounds. The influences of Chinese philosophy (especially Chán) and the essence of Chinese traditional music play a prominent role as demonstrated in the formation of structures, expressions, and concept of Yun in the work; these influences also play a great role in determining the instrumentation and basic pitch structures of the work. However, this work is equally influenced by techniques and practices of modern Western classical music. These diverse influences hopefully have resulted in a unique work that truly does represent a cross-synthesis of these varying influences. In Winter Landscape, the interaction that takes place between the computer and the live musician is intended to reveal the responsive human/machine relationships. The computer constantly shifts its roles as a musical instrument, conductor, performer, and improviser to facilitate the sonic realization of the solemn, nebulous, and peaceful nature of Chán philosophy, thus exploring the cultural and musical potentials; meanwhile, the design of algorithmic structures simulate the modeling of human performance, enabling the computer with intellectual ability and musical expressivity as a decision-maker, resembling its counterpart-the live performer.
Date: December 2009
Creator: Wang, Jing

As Darkness Falls: A Composition for Wind Ensemble

Description: As Darkness Falls is a composition that explores our interaction with several aspects of darkness through the use of musical imagery. The imagery attempts to reflect the moods, feelings, and impressions of a person as he or she interacts with darkness. The non-programmatic character of the composition allows listeners to superimpose their own experiences onto the musical tapestry in order to manifest a personal connection between the listener and the music. As Darkness Falls is a composition scored for a minimum instrumentation of piccolo, 6 flutes, 3 oboes, 3 bassoons, 9 B-flat clarinets, B-flat bass clarinet, 2 E-flat alto saxophones, B-flat tenor saxophone, E-flat baritone saxophone, 4 B-flat trumpets, 4 horns in F, 3 tenor trombones, bass trombone, 2 euphoniums, 2 tubas, timpani, and 4 percussionists. The music consists of three movements (slow-slow-fast) lasting a total of approximately seventeen minutes. The duration of each of the three movements is six minutes, four and one-half minutes, and six and one-half minutes, respectively. The document also contains an analysis of the work by the composer. The analysis explores the compositional style of the work, focusing on musical aspects within each movement that were governing parameters in the compositional process.
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Date: December 1999
Creator: Prinz, Kendall R.

"Deborah": The Creation of a Chamber Oratorio in One Act

Description: In comparing oratorio traits across history, three aspects of oratorio were found to be particularly applicable to the creation of "Deborah: A Chamber Oratorio in One Act." These aspects were: the selection of topic and the creation or adaptation of text; the differences between recitative and aria, in form and function; and the level of stylistic diversity within a given work.
Date: May 2016
Creator: Mixter, Mary

A Different Drummer: A Chamber Opera

Description: A Different Drummer is a chamber opera adaptation of Donald Davis's story "A Different Drummer" from his collection Listening for the Crack of Dawn, published by August House. The opera lasts about seventy minutes, and calls for a cast of three and an orchestra of sixteen players. It contains a prologue, epilogue and four scenes in a single act. The score is prefaced by a paper describing the musical strategies employed in setting the story as an opera. Three chapters describe the adaptation from short story to opera, the essential musical elements, and details of the application of the musical elements in each scene of the opera. The libretto is presented in the fourth chapter.
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Date: May 1999
Creator: Friedman, Arnold Jacob

Dream of a Thousand Keys: A Concerto for Piano and Orchestra

Description: Dream of a Thousand Keys is a concerto for piano and orchestra, which consists of four movements presenting multiple dimensional meanings as suggested by the word "key." I trace the derivation of Korean traditional rhythmic cycles and numerical sequences, such as the Fibonacci series, that are used throughout the work, and explore the significant role of space between the soloist and piano that are emphasized in a theatrical aspect of the composition. The essay addresses the question of musical contrasts, similarities, and metamorphosis. Lastly, I cover terms and concepts of significant 21st-century compositional techniques that come into play in the analysis of this work.
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Date: May 2011
Creator: Choi, Da Jeong

Earth Ascending: A Composition in Three Movements for Female Voice, Electroacoustic Music, and Video

Description: Earth Ascending is a composition in three movements scored for female voice, electroacoustic music, and video. Composed in the Year 2000, Earth Ascending lasts approximately sixteen minutes and was created specifically for live performance in which all three elements combine to create a sonic and visual environment. As such, no single element has greater importance than any other, with each of the three performing forces assuming a foreground role at various times throughout the work. Earth Ascending is defined by a single poem written by contemporary female British poets Jeni Counzyn, Jehanne Mehta, and Cynthia Fuller. The movements are named according to the title of each poem: Earth-Body, Light-Body; Wringcliff Beach; and Pool. The movements are separated in performance by five seconds of silence and black on the video screen. The paper accompanying the score of Earth Ascending is divided into five chapters, each discussing in detail an element central to the composition itself. The Introduction presents background information, general ideas, and approaches undertaken when creating the work. Chapters 1 through 3 investigate in detail the content of the electroacoustic music, voice, and video. Chapter 4 discusses scoring techniques, revealing approaches and methods undertaken to solve issues relating to notation and ways of accurately representing sound, pitch, and rhythm within the context of a mixed media work. Chapter 5 presents information relevant to the live performance of the piece.
Date: August 2000
Creator: Lillios, Elainie

Fidget, Sway, and Swerve: Three Works Inspired By Movement From the Intricate Maneuvers Series

Description: Intricate Maneuvers is a series of musical works that were composed using movement as a model for compositional processes and forms. This essay presents in-depth analyses of three works from the series; Fidget, Sway: The Mildest Form of Falling, and Swerve for Chamber Ensemble. The analysis of each work highlights correlations between the musical characteristics of that work and the temporal, spatial, contextual, and psychological implications of the motion after which it was modeled. The third chapter also demonstrates the ways in which the creation of Sway was influenced by materials and processes taken from Ruth Crawford's String Quartet 1931. In order to investigate the question of how life experiences can function as models for compositional processes, the essay examines precedents for the compositional modeling of extra-musical ideas and images in the works of Bed?ich Smetana, Elliott Carter and Roger Reynolds. It also discusses approaches to modeling movement in music created for dance. Throughout the Intricate Maneuvers series, movement is modeled not merely to create an association between a musical work and a particular movement pattern, but rather to infuse the compositions with the dynamism that defines a particular kinetic experience.
Date: December 2012
Creator: Summar, Sarah Page

Five Seasons: A composition for flutist and percussionist

Description: Five Seasons is a musical work for flute and percussion. The flutist alternately performs on the C flute with a B foot, alto flute, piccolo, and bass flute in each movement. The percussionist also plays different instruments in each movement: the vibraphone for Mid-Summer; the xylophone for Fall; the woodblock, temple block, and cowbells for Spring; the glockenspiel for Summer; and the marimba for Winter. The five movements of this work - Mid-Summer, Fall, Spring, Summer, and Winter - are based on a combination of Eastern performing practices with Western instruments. The musical characteristics are based on the techniques of fifteenth-century (e.g., isorhythmic technique) and twentieth-century Western music.
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Date: August 2001
Creator: Kim, Chol-Ho

Forever's Silent Song for Chamber Orchestra and Mezzo-Soprano

Description: This work is a setting of two poems by E.E. Cummings for chamber orchestra and mezzo-soprano soloist. The approximate durations of the first and second movements are respectively seven and one half, and six minutes. The music was inspired by the poetry and attempts to highlight the cyclic syntax which hallmarks Cummings' style. The first poem ("pity this busy monster, manunkind,") presents a sarcastic analysis of the progress of society. The compositional techniques used in the first movement involve elements of ostinato and fragmented motivic development to punctuate the penetrating message of the poem. The second movement ("these children singing in stone a") offers a marked contrast in texture and is a peaceful resolution to the agitated frustration of the first poem. Chromaticism is an essential element in defining the melodic and harmonic style. The vocal writing is largely declamatory and presents the vocalist with challenges of tessitura, intervallic complexity and extended technique.
Date: August 1986
Creator: Webb, Lisa A. (Lisa Ann)

Fractus I for Trumpet in C and Electronic Sound: A Critical Examination of the Compositional Process

Description: Fractus I is a composition for trumpet in C and live electronic sound. The electronics were primarily created using SuperCollider, an environment and programming language for real time audio synthesis. This project investigates SuperCollider's pattern and task functionality as a means of supporting and enriching the compositional process. Fractus I develops several different code architectures in order to randomize as well as synchronize various musical elements. The piece exploits SuperCollider as both an audio synthesis tool and a performance conduit. Additionally, the nature of SuperCollider's patterns and tasks influences the form and content of the composition. The project underscores SuperCollider as a powerful, versatile and open-ended tool for musical composition and examines future directions and improvements.
Date: May 2010
Creator: Fieldsteel, Eli Mulvey

The Full Armor of God

Description: The Full Armor of God is a musical composition based on the apostle Paul's comparison in Ephesians 6:10-20 between armor for physical combat and armor for spiritual warfare. The instrumentation consists of the following: oboe/English horn, bassoon, two violins, viola, cello, and bass. Texts on Roman armor as well as commentaries and sermons on the scriptures were consulted for the basis of the musical materials. The piece combines imagery and historical associations with abstract renderings of both the physical and the spiritual.
Date: August 1997
Creator: Lawrence, Nicholas A. (Nicholas Alan)

Galileo's Eyeglass: An Orchestral Work Celebrating the Discovery of the Moons of Jupiter and the Rings of Saturn

Description: Galileo's Eyeglass is a celebratory work for full orchestra with standard instrumentation commemorating Galileo Galilei's discoveries of the four largest moons of Jupiter and the rings of Saturn in 1610. The composition is approximately 14 minutes in duration, and although divided thematically into four parts, the music is continuous. The work exhibits primarily a blend of contemporary styles and compositional elements, yet it is rooted in traditional tonality; furthermore, the piece is interspersed with references to Galileo's life and times, including quotations of a toccata composed by the scientist's brother, Michelangelo Galilei, transcribed from lute tablature. Chapter 1 of Part 1 investigates relevant historical threads extracted from the backdrop of Galileo's life, from reflections on the events that shape the musical program, to the selection and preparation of the period music composed by Galileo's brother. Chapter 2 discusses specific musical components of Galileo's Eyeglass, including form, musical quotations, motivic and thematic material, harmonic language, orchestration, and notation. Chapter 3 examines the principal philosophical themes behind the composition, including expressions of victory of a life well lived in spite of many obstacles. Part 2 contains the orchestral score.
Date: August 2011
Creator: Walls, Jay Alan

General Process in the Creation of Estruendos and Principal Structural Elements of the Composition

Description: My composition, Estruendos, is a work for large symphonic orchestra, guitar and computer-generated and processed sounds on CD. The work lasts 23 minutes and 45 seconds. My dissertation is composed of two parts: Part One comprises the analysis and Part Two comprises the score. Part One gives a brief background of my compositional dialect and aesthetics. It also includes a discussion of the compositional process and general overview of Estruendos. In addition, it illustrates the primary role the placement of sonic events in time and timbral structure play in the pathos of Estruendos.
Date: May 2002
Creator: Cuellar Camargo, Lucio Edilberto

Germinal Ideas and Processes within plies (2002): A Chamber Work for Eleven Players

Description: The piece is a twenty minute work discoursing the integration and eventual dissolution of two separate musical strands. The pitch material of each strand is determined from synthetic scales whose intervalic content duplicates at the following intervals: Perfect 12th, Diminished 12th, Minor 9th, Perfect 8ve, and Major 7th. A proportional means of temporal compression is generated through the use of the factor, 11/15 (e.g. Event 2 is 11/15 the duration of Event 1). Various elements of jazz music informed the construction of plies, including the instrumentation of the ensemble and the means by which the performers interact throughout the piece. Internal cueing and performer decisions are meant to eliminate the need of a conductor in favor of increased interpretive freedom by the performers.
Date: December 2002
Creator: Stecher, David

GranCloud: A real-time granular synthesis application and its implementation in the interactive composition Creo.

Description: GranCloud is new application for the generation of real-time granular synthesis in the SuperCollider programming environment. Although the software was initially programmed for use in the interactive composition Creo, it was implemented as an independent program for use in any computer music project. GranCloud consists of a set of SuperCollider classes representing granular clouds and parameter objects defining control data for the synthesis. The software is very flexible, allowing users to create their own grain synthesis definitions and control parameters. Cloud objects encapsulate all of the control data and methods necessary to render virtually any type of granular synthesis. Parameter objects provide several simple methods for mapping grain parameters to complex changing data sets or to external data sources. GranCloud simplifies the complex task of generating granular synthesis, allowing composers to focus less on technological issues and more on musical considerations during the compositional process.
Date: December 2009
Creator: Lee, Terry Alan

Haiku Seasons

Description: Haiku Seasons is a choral work that uses several haiku to portray moments in nature. Spread throughout the performance space, four choirs (SATB, 3/part) depict larger parts of the pastoral scene (i.e., mountains, the moon, etc.). Soloists depart from the choirs in order to perform solo, duo, trio, and quartet passages, which take place throughout the work. If enough singers are available, individual soloists may be used. The soloist groups display the more intimate moments of the scenes (i.e., sparrows, a blade of grass, etc.). The intent of Haiku Seasons is to create an image of nature isolated from human interaction. Thus, the image is a pastoral setting with many independent parts all coexisting in a relatively silent world. I combine aspects of tonality, time, space, and silence to create this image.
Date: December 2000
Creator: Smith, Steven Lyle

Heart of the Fathers, for Wind Symphony

Description: Heart of the Fathers is a programmatic, seven movement work for wind symphony depicting my ancestors and their role as part of the history of The Church of Jesus Christ of Latter-day Saints. The movements represent their spiritual experiences, labors, times of joy, persecution, migration, and finally their arrival and success in their new homeland. The piece is organized in seven movements. Each movement represents a different portion of history leading to the western migration of my ancestors. The programmatic music contains a variety of symbols depicting the experiences of the pioneers. In the paper, each chapter addresses an individual movement. For each movement, the following information is provided: the historical events that inspired the piece, the musical symbols that characterize the program, and an analysis of the function of the music.
Date: May 2000
Creator: Anderson, Stephen Reg

The Heidegger Collection

Description: The dissertation consists of two parts: (1) the essay and (2) the composition. The essay elucidates the composer's creative process of the orchestral works, The Heidegger Collection. The Heidegger Collection has five movements. The titles of each movement are derived from the key philosophical concepts from Heidegger's most significant writing, Being and Time: (1) State-of-Mind, (2) Idle-Talk, (3) Moment-of-Vision, (4) Dread, and (5) Being-towards-the-End. The essay discusses the meanings of the five concepts, and explains how I express my reaction to Heidegger's thinking through music composition. The essay also discusses the essential musical language of The Heidegger Collection, such as interval cycles, polyrhythmic patterns, algorithmic elements, portamento effects, chaos theory, and oriental influence.
Date: August 2000
Creator: Lin, Tung-Lung

Hymns to Inanna

Description: The poetry of Sumer, inscribed in cuneiform script on clay tablets dating from 2000 B.C., is considered humanity's earliest written literature. Hymns To Inanna is a three-movement, mixed media work based on adapted English translations from ancient Sumerian text. The text is sung by SATB choir and musically illustrated by harp, flutes, percussion, and computer-generated sound (on tape). My musical setting displays these hymns not as a reflection of antiquity but as a timeless expression of spiritual thought. Certain elements of the composition evoke associations with early culture and music. These components, however, are transformed or merged with musical characteristics of other eras, idioms, and forms thus representing a conceptual and stylistic "bridge" between past, present, and future.
Date: May 1986
Creator: Quate, Amy