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Concertino for Tuba, Winds, and Percussion

Description: Concertino for Tuba, Winds, and Percussion is a work for solo tuba and an ensemble consisting of two flutes, two oboes, two clarinets, bass clarinet, bassoon, four horns, two trumpets, two trombones, bass trombone, and three percussionists. The percussionists play small, medium, and large suspended cymbals, triangle, tam tam, metal wind chimes, five tom toms, snare drum, tenor drum, bass drum, two sets of two timbales, five temple blocks, maracas, glockenspiel, vibraphone, chimes, xylophone, marimba, and five timpani. The three movements of the work follow the arrangement of the standard concerto format (fast-slow-fast). The lengths of the movements are approximately four minutes and fifteen seconds, two minutes and twenty-five seconds, and four minutes and ten seconds respectively. The total duration of Concertino is about eleven minutes.
Date: August 1985
Creator: Potter, David
Partner: UNT Libraries

Kidrish Fields

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

The Reflection

Description: The Reflection is a piece of chamber music that describes the human nature through the use of different "meanings" in music. By using various leitmotifs and different compositional techniques, the music becomes a helpful tool to reflect meanings. On the other hand, this piece uses one special idea, which is that the whole piece can be explained in terms of visual arts. Each primary motive represents a "primary color" that reflects various "moods" or "emotions." Through using combinations and mixtures of color, different "sceneries" are formed. Furthermore, The Reflection has three basic aspects: the function of transmitting messages through music; the exploration of different functions of fifth; and the emphasis of meaning, sound effect and timbre.
Date: December 1992
Creator: Wu, Yuk Yee
Partner: UNT Libraries

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)
Partner: UNT Libraries

Designs

Description: Designs is an algorithmic composition for small orchestra. The main compositional process used involves the realization and implementation of various musical algorithms discussed in the book Composition with Pitch-Classes by theorist/composer Robert Morris.
Date: August 1993
Creator: Fu, Yuen-Wai
Partner: UNT Libraries

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)
Partner: UNT Libraries

Explorations: a Composition for Eighteen-Piece Jazz Ensemble

Description: Explorations is a three-movement experimental work for eighteen-piece jazz ensemble consisting of the following instruments: soprano saxophone, alto saxophone, two tenor saxophones, baritone saxophone, two trumpets, two flugelhorns, three trombones, bass trombone, electric guitar, vibraphone, contrabass, drums and piano. The duration of the work will approximate twelve minutes. The first movement features geometric configurations of spatially notated sound which emphasize percussive qualities of the ensemble (i.e. key clicks, tongue slaps, mouthpiece pops, etc.). Tone clusters of various pitch, texture and dynamics derived from blues scales provide the source material for the second movement. A slowly developing dynamic counterpoint creates the sound mass texture and delineates the form. Movement Three features a contrapuntal poly-metric collage of variations on a four-note theme. The collage provides the background fabric for an exchange of periodic and aperiodic events.
Date: May 1992
Creator: Rudnick, Isidore L.
Partner: UNT Libraries

For Unto Us…

Description: For Unto Us is a one movement work for soprano and orchestra. The text, by the composer, describes the thoughts and feelings of Mary, the mother of Jesus, as she watches the crucifixion. Mary's process of faith is traced through the sequence of dramatic events which proceed and follow the crucifixion. The work explores symbolic instrumentation, juxtaposition of harmonic languages, and extended techniques for performance and notation. The setting of the text combines traditional operatic idioms with new elements in the music. The duration of this dramatic, quasi-operatic scene is approximately nine minutes.
Date: May 1989
Creator: McBride, Melissa Lyn
Partner: UNT Libraries

Two Movements from the Delphic Suite: A Composition for Orchestra

Description: Delphic Suite is a composition for orchestra that depicts specific events narrated in Homer's epic tale, Odyssey. For the purpose of this thesis the second movement, Raid on Ismarus, has been omitted so as to focus on the melodic, rhythmic, and harmonic structures of the first movement, Lament from Troy, and the third movement, Ruler of the Winds. Each of these musical parameters will be analyzed in order to illustrate the Suite's imitation of compositional techniques exemplified in the music of Homer's era, and the musical results obtained by juxtaposing those parameters upon a twentieth-century tonal scheme that provides the Suite with an eclectic ambience.
Date: December 1991
Creator: Walczyk, Kevin, 1964-
Partner: UNT Libraries

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.
Partner: UNT Libraries

Kinetico for Chamber Wind Ensemble

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

Jonah's Prayer: a Composition for Solo Tenor, Mixed Chorus and Two Pianos

Description: Jonah's Prayer is a choral work for solo tenor, a mixed choir of not fewer than 30 members, two pianos and a few percussion instruments to be played by choir members. The piece lasts about 13 minutes; it is a work intended for church choir use but could be performed in other venues as well.
Date: December 1998
Creator: Au, Siu-ming Stefan
Partner: UNT Libraries

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-
Partner: UNT Libraries

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

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

Loose Id for Orchestra

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

The War Poems: An Intermedia Composition for Chamber Orchestra and Chorus

Description: Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. Text used in the piece was taken from the writings of the English World War I poet Siegfried Sassoon.
Date: August 1997
Creator: Schindler, Karl W. (Karl Wayne)
Partner: UNT Libraries

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)
Partner: UNT Libraries

Temporal Distortions: a Composition for Orchestra

Description: Temporal Distortions is 18-20 minutes in length and is written for an orchestra including 2 flutes (2nd flute doubling on piccolo), 2 oboes, 2 Bb clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, 3 percussionists playing tri-toms, vibraphone, snare/tenor drum, medium suspended cymbal, Glockenspiel, bass drum, and large tam-tam; and multiple string parts for violin I a & b, violin II a & b, viola a & b, cello and double bass. Temporal Distortions was inspired by the theoretical concept of "wormholes" in space, where matter is warped through distorted passages connecting distant and diverse parts of the universe. The work is in three sections, connected without break. The first section, Space, emerges as a wide, expansive musical area where themes and gestures are freely presented. Gradually, these materials come into phase with one another, building to a climax. A transition follows, leading into the middle section, Wormholes, where the materials are frequently and suddenly transformed into other temporal elements. The third section, Comets, was inspired by the collision of the comet Shoemaker-Levy 9 with the planet Jupiter in July of 1993. Driving, underlying rhythms propel the thematic material through a series of statements which split into more and more substatements. This leads into a turbulent, explosive section and a final wormhole which returns to the opening material. Five basic temporal elements -- sustaining, aligned/non-repeating, aligned/repeating, non-aligned/repeating, and non-aligned/non-repeating -- are derived and demonstrated. Relationships between these elements are examined, and basic transformations are discussed. These elements serve as the basis for a theory of temporal analysis applicable to both metered and non-metered music. Chapter I presents this theory, and Chapter II discusses its application as a compositional method in Temporal Distortions.
Date: August 1995
Creator: Frank, Robert J., 1961-
Partner: UNT Libraries

Reubke's The 94th Psalm: Synthesis of Conservative and Progressive Styles, a Lecture Recital, together with Three Recitals of Selected Works of J.S. Bach, C. Franck, A. Heiller, M. Reger, L. Sowerby, M. Widor and Others

Description: This dissertation is a study of the styles shown in Reubke's The 94th Psalm. As a student of Hermann Bonicke, Theodor Kullak, and Adolf Marx, Reubke was trained in the masters of the Baroque and Classical traditions. Written after his study with Franz Liszt in the newer style, The 94th Psalm is a crystallization of these various influences into his own personal style, a remarkable achievement at age twenty three. It is a synthesis of two different styles of organ music at the time; the traditional and conservative represented by Mendelssohn and Schumann, and the progressive by Liszt. Reubke's unique approach to the sonata fomi in the "double function" unified three individual movements into one musical entity by the use of the cyclic theme. The harmony and the tonality are advanced and anticipate the late nineteenth-century style. As the first programmatic organ music in the nineteenth century, The 94th Psalm is an idiomatic organ work which employed the virtuoso piano technique of the time. In spite of Reubke's young age, The 94th Psalm demonstrates his great maturity. His wish to express himself is realized in the work in profound depth and imagination. Through the psalm text he poured out his mind and soul with tremendous energy. In addition to the prevailing concept of the dominant influence of Liszt on the work, the study discusses in detail other aspects which are equally significant to The 94th Psalm, particularly the classical organ tradition of the time and Adolf Marx's influence. After the introduction in Chapter I, Chapter II describes Reubke's family, his life including musical training and his works. Chapter II discusses the influences on The 94th Psalm; organ composition of the mid-nineteenth-century Germany, the influential teachers and their works. Chapter IV presents an analysis of the work, the programmatic feature, the ...
Date: December 1989
Creator: Lee, Choonhae Kim
Partner: UNT Libraries

Ensemble: 2011-04-07 - Wind Symphony

Description: Concert presented at the UNT College of Music Winspear Hall at the Murchison Performing Arts Center.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: April 7, 2011
Creator: North Texas Wind Symphony
Partner: UNT Music Library