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ABOUT BROWSE FEED
Doctoral Recital: 2014-10-07 - John Garst, tenor
Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2014-03-28 - Caitlin McCarville, soprano
Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2014-04-03 - Meng-Jung Tsai, soprano
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2014-04-01 - Eunkyung Lee, soprano
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2014-02-21 - John Garst, tenor
Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Ensemble: 1987-11-10 - Collegium Singers and Garza-Little Elm Consort
Choir concert performed at the UNT College of Music Recital Hall.
La fileuse: parodie d'Omphale
"A parody in one act on André Cardinal Destouches' opera, Omphale."
La clé du caveau: à l'usage de tous les chansonniers française, des amateurs, auteurs, acteurs du vaudeville, et de tous les amis de la chanson
Extensive collection of French poetry and songs.
Exultate Deo: petit motet nouveau a voix seule et grande simphonie: chanté pour la premiere fois par Melle, Jet au Concert Spirituel le 4 Avril, 1755; Ch. d'Herbain
Sacred solo cantata for high voice, with orchestra.
Doctoral Recital: 2014-02-21 - John Garst, tenor
Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2014-04-03 - Meng-Jung Tsai, soprano
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2014-03-28 - Caitlin McCarville, soprano
Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2014-04-01 - Eunkyung Lee, soprano
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Related Field Recital: 2014-02-05 - David Morgenroth, collaborative piano
Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral (Lecture) Recital: 2013-05-21 - Laurissa Backlin, soprano
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2013-05-13 - Lauren McNeese, mezzo-soprano and Elvia Puccinelli, piano
Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Doctoral Recital: 2014-04-19 - Lixin Tong, tenor
Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree
Doctoral Recital: 2014-04-19 - Kongju Choi, mezzo-soprano
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree
Doctoral Recital: 2014-04-22 - Jordan Hampton West, soprano
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Master of Music (MM) degree
Doctoral Recital: 2014-04-24 - Fabiana B. González, mezzo-soprano
Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Faculty Recital: 1988-03-22 - Jeannine Crader, soprano
Faculty Recital performance at UNT's College of Music Concert Hall
Ensemble: 2013-10-13 - University of North Texas College of Music Gala
Gala concert presented at Winspear Hall of the Murchison Performing Arts Center.
Dizzy Gillespie at Birdland
A French-language program featuring Dizzy Gillespie performing at Birdland, along with an interview with John Hammond.
Variations à quatre mains pour le piano-forte sur une theme de Monsieur le Comte de Waldstein
No Description Available.
Oeuvres de Haydn, Cahier II contenant XI Pièces pour le Pianoforte
This volume includes six piano sonatas, three sets of theme and variations, one fantasia, and one capricio [sic] with incipits for all pieces.
Oeuvres de J. Haydn, Cahier IV contenant VIII Pièces pour le Pianoforte
This volume includes the piano parts for six piano sonatas and one arietta (for solo piano) and the piano parts to a trio for piano, flute, and 'cello. Incipits are included for all pieces.
Oeuvres de J. Haydn, Cahier XII contenant 9 Pièces pour le Pianoforte
This volume contains the piano parts for eight piano sonatas (some accompanied either by violin or violin and 'cello) and one adagio. Incipits are present for all pieces.
Oeuvres de J. Haydn, Cahier I contenant VIII Sonates pour le Pianoforte
This volume includes eight piano sonatas, preceded by pages featuring a portrait of the composer, a letter of dedication from the composers to the consumers of this item, and incipits of all eight sonatas.
Oeuvres de J. Haydn, Cahier VI contenant V Sonates pour le Pianoforte
This volume includes the piano parts for five piano trios (called "sonatas" on the title page) with incipits.
Oeuvres de J. Haydn, Cahier VIII
This volume contains fifteen sacred and secular songs for one to four voices with piano accompaniment. Contrary to the title page, the titles of each song are given either in German or German and Italian. When both languages are present in the text underlay, the Italian text sits directly below the staves with German below the Italian. Most songs either give "Singstimme" or a voice part for the vocal staves; some give names of characters, possibly indicating a theatrical or semi-dramatic performance context. Songs for one voice tend to be strophic while part songs are through-composed. Authors such as Gellert, Metastasio, and Shakespeare figure among the authors (most anonymous) of the texts. As with the other binlingual pieces in this volume, the scene "Arianna a Naxos" is set in Italian and German. The interaction of the soprano voice and piano accompaniment as well as the structural alternation between arioso/aria and recitative reveals this piece to be a solo cantata. The volume concludes with a four-page catalog of all of Breitkopf und Härtel's publications in Leipzig complete with price in thalers for each piece and a table of contents. The positioning of the Inhalt at the end of the volume reflects the influence of Italian publishing practices.
Oeuvres de J. Haydn, Cahier VII contenant VI Sonates pour le Pianoforte
This volume includes the piano parts for six piano trios (called "sonatas" on the title page) with incipits.
Oeuvres de J. Haydn, Cahier V contenant V Sonates pour le Pianoforte
This volume includes the piano parts for five piano trios (called "sonatas" on the title page) with incipits.
Oeuvres de Haydn, Cahier III contenant VI Sonates pour le Pianoforte
This volume includes the piano parts for six piano trios (called "sonatas" on the title page) with incipits.
Oeuvres de J. Haydn, Cahier XI contenant XII Sonates pour le Pianoforte
This volume contains twelves piano sonatas with incipits for each piece.
Oeuvres de J. Haydn, Cahier X contenant VIII Sonates pour le Pianoforte
This volume contains the piano parts to eight piano sonatas - five accompanied by violin and 'cello, three accompanied by violin - all with incipits.
Oeuvres de J. Haydn, Cahier IX contenant XXXIII Airs et Chansons
Though the cover of this volume is in French, the title page gives the same information in German. This latter language also receives pride of place in the text underlay: Most songs are solely in German but, when lyrics are given in two languages, German is immediately below the musical staves with either Italian or French in italics below the German. Songs use one to three voices with the voice part sometimes integrated into the top staff of the piano part with text underlay indicating when to sing. Several songs are set for three-part Männerchor or four-part chorus with piano accompaniment. In strophic settings, only the first stanza of poetry appears in the score; the rest are included as addenda at the end of the piece. The volume concludes with a table of contents given the name and first line of each song in all languages used for each entry.
Le voyage de Cythere
This secular cantata for soprano and basso continuo features obbligato flute and violin. The introductory letter addresses not a royal patron but a commercial one - the women that would sing this cantata.
Extrait des airs françois de tous les operas nouveaux, qui ont eté representés: Appropriés pour le chant ou la flute avec la basse continue., Partie I.
This collection of opera arias is scored for either one or two voices with continuo (with figures) and, for some songs, obbligato flute.
Extrait des airs françois
This collection of opera arias is scored for either one, two, or three voices with continuo (with figures). Some songs call for an obbligato violin. An alphabetical table of contents is located at the end of the volume.
Titon Et L'Aurore
This three-act opera (Monsigny's Op. 8) is dedicated to Monseigneur le Prince de Soubise and was premiered at L'Academie Royalle de Musique on 9 January 1753. This full score opens with a letter of dedication from the composer to his patron and closes with a document describing royal publishing privilege.
Le roy et le fermier
This three-act opera was premiered at the Comédie Italien on 22 November 1762.
Le déserteur; drame en trois actes representé par les Comediens italiens ordinaires du roi le 6 mars 1769, Gravé par Mlle, Vendôme et le Sr. Moria
This three-act opera is dedicated to His Most Serene Highness Monseigneur Duke of Orleans and premiered on 6 March 1769 at les Comediens italiens ordinaires du roi. This full score opens with a letter of dedication from the composer to his patron.
Le cadi dupé, opéra bouffon en un acte, representé sur le Théatre de l'opera comique
The figured bass is unrealized in the full score of this one-act comic opera. Sung French text is underlaid; spoken text is printed before and after each song.
Le triomphe des sens
This opera (ballet héroique) is comprised of five acts with a prologue. It was premiered on 29 May 1732 at L'accademie Royale de Musique in Paris. This score opens with a letter of dedication from the composer "A Son Altesse Serenissime Monseigneur Le Prince de Dombes." Next, Mouret includes two tables of contents: one of the dances (Airs de Simphonie) and the other, of the arias (Airs à Chanter). The following pages lists other publications by Mouret including prices and where these items may be purchased. Vocal lines are set apart from instrumental ones by text underlay and, in the case of high voices, the use of the standard treble clef. (The violin parts use the French clef.
Cantates françoises a voix seule et basse-continue, avec et sans symphonies, Livre second
This item comprises two books of secular cantatas for soprano (indicated by the consistent use of the soprano clef in the vocal line), obbligato strings and winds, and (unrealized) basso continuo. The first book was printed in 1706; the second, in 1708. Since the two volumes were bound together, the later date is used for this item. The subtitle for the first volume indicates "a voix seule avec symphonies" while the subtitle for the second volume gives "a voix seule et basse-continue, avec et sans symphonies."
Cantates françoises à I. et II. voix: avec simphonie, et sans simphonie, V. 1-2
This item contains volumes 1 and 2 of Clérambault's "Cantates Françoises." The second volume bears the subtitle "Mellées de Simphonies." Volume 1 contains the cantatas "L'amour piqué," "Le jaloux," "Orphée," "Poliphême," "Medée," and "L'amour et Baccus." Volume 2 contains "Alphée et Arethuse," "Leandre et Hero," "La musette," "Pirame et Tisbé," "Pigmalion," and "Le triomphe de la paix." The continuo line is figured.
Silvain
This one-act opera to a libretto by Marmontel is dedicated "a son Altesse Royale Monseigneur Le Prince Charles de Pologne." This full score features a catalogue of Grétry's music on the verso of the title page. The opera was premiered in Paris on 19 February 1770 at the Comédie-Italiènne.
Prodromus Musicalis
"Prodromus Musicalis" (published in 1702) is bound, here, with "Motets à une et deux voix, mélez de symphonies, livre premier" (1704); thus, the latter gate is used for this item as a unit. Both sets of motets consist of Latin-texted music preceded by a title page in French. A Table of Contents either at the front or back of each collection describes the motets contained therein. Content is printed on both sides of each leaf. "Prodromus" also has a note from Brossard informing the reader that a Dictionary of Music, published at the same time as "Prodomus," contains French translations of Italian, Greek, and Latin terms, knowledge of which is vital to the understanding and performance of the present music. The contents of "Prodromus" are as follows: "Ave vivens hostia," "O Jesu quam dulce," "Congratulamini filiae Sion," "O vos aetherei," "Festivi martyres" "Angele sancte" "Sonitus armorum," "Quemadmodum desiderat," and "O plenus irarum dies." "Motets à une et deux voix" contains the following pieces: "Venite exultemus," "Gaudete Mortales," "Ad mensam caelitus paratam," "Ave Regina coelorum," "Animae Amantes ad Deum esurientes," "Ite gemmae, Ite flores," "Anxiatus est super me spiritus meus," "Festivi Martyres, festivae Virgines," "Nisi Dominus aedificaverit domum."
Les Elemens
This four-act ballet was premiered on 22 December 1721 at the Tullieries and, later, performed at L'Academie Royale de Musique on 29 May 1725 and 27 May 1734, and at the Theatre on 22 May 1742. Various dramatis personae present an allegorical depiction of the French court.
Ensemble: 1997-03-31 - A Cappella Choir
Ensemble concert performed at the UNT College of Music Concert Hall.