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Twelve Jazz Standards and Improvisations Transcribed and Adapted for Horn

Description: The purpose of this manuscript is to provide a representative collection of jazz standards with improvised solos fashioned after the types of resources available for traditional jazz instruments, yet transcribed and adapted specifically for horn, hence, expressly designed to assist horn players in achieving greater success in jazz performance. By providing transcriptions and adaptations of significant performances from jazz history, horn players will have a resource with which they can better understand jazz performance practice. Featured artists include Miles Davis, Curtis Fuller, Ella Fitzgerald, Tommy Turk, Charlie Parker, Sonny Rollins, John Coltrane, Miles Davis, Wes Montgomery, J. J. Johnson, Stan Getz, and Milt Jackson. Song titles and albums are as follows: "Autumn Leaves," Somethin' Else (1958), "Blue Train," Blue Train (1957), "How High the Moon," Ella in Berlin (1960), "Lester Leaps In," Jazz at the Philharmonic (1949), "Lover Man," The Magnificent Charlie Parker (1951), "Moritat," Saxophone Colossus (1956), "Naima," Giant Steps (1959), "On Green Dolphin Street," Kind of Blue (1959), "Polka Dots and Moonbeams," Jazz Guitar of Wes Montgomery (1960), "Satin Doll," The Trombone Master (1957), "Stella by Starlight," Stan Getz Plays (1952), "Straight, No Chaser," Genius of Modern Music 2 (1951).
Date: May 2011
Creator: Salisbury, Linda J.
Partner: UNT Libraries

Problems of Transcribing the First Movement of Schubert's Symphony in B Flat Major

Description: The problem for this study is a transcription for band of the first movement of Schubert's Symphony in B-flat Major. In the arrangement of the data, the discussions are presented before the transcription. This procedure was followed in order that the transcription might be readily understood.
Date: August 1947
Creator: Hollinger, Albert C.
Partner: UNT Libraries

Paul Wittgenstein's Transcriptions for Left Hand: Pianistic Techniques and Performance Problems, A Lecture Recital, Together With Three Recitals of Selected Works of R. Schumann, S. Prokofiev, F. Liszt, M. Ravel, and F. Chopin

Description: Paul Wittgenstein (1887-1961) made significant contributions to the piano literature for the left hand through numerous commissioned works as well as his own transcriptions. In the transcriptions, Wittgenstein preserved the texture of two-hand music, aiming for the simulation of the original works. This requires special techniques in the performance by the left hand alone. This dissertation investigates technical means and performance problems associated with the transcriptions as well as Wittgenstein's own recordings of selections from his works.
Date: August 1999
Creator: Kong, Won-Young
Partner: UNT Libraries

A Transcription for Band of the Second Movement of Cesar Franck's Symphony in D Minor : From the Orchestral Score

Description: The problem of this study was to make a transcription of the second movement of Franck's Symphony in D Minor for a college symphonic band. A thorough discussion of problems of instrumentation and analysis, a brief history of the composer's life and works, and an evaluation of the contribution of the project is included in this document.
Date: August 1948
Creator: Franck, César, 1822-1890
Partner: UNT Libraries

Using Baroque Vocal Music to Introduce Horn Students to the Musical Concepts of Expression, Articulation, Phrasing, and Tempo

Description: Baroque music is an area largely neglected in the music education of young horn students and wind players in general. Baroque horn repertoire is very demanding primarily due to the range. Baroque composers wrote for horn using the uppermost register of the instrument. In this range the partials are closer together, allowing for more melodic writing. This music requires an advanced level of technique, endurance, and ability. Often this repertoire is not suitable for students until they are well into their collegiate years of study. Frequently this music is performed on descant horns. Since only a small number of middle school and high school horn students continue to play after they leave their school band programs, they many never get first hand experience performing Baroque music. Vocal students are often introduced to Baroque arias early in their training. Purcell’s songs and arias are an excellent example of the literature that young voice students use. These arias and songs can be the perfect portal to Baroque music for horn students as well. Here I have created an edition of Henry Purcell’s songs and arias for young horn students. Each aria used the text as a guide for the “affect” and its impact on tone, articulation, and phrasing. The bass line is also used as a guide for determining tempo and style. Each piece is transcribed as a solo with piano accompaniment and as a duet. The goal of this edition is to use Baroque vocal music to introduce horn students to the musical concepts of expression, articulation, phrasing, and tempo.
Date: May 2014
Creator: Winter, Angela K.
Partner: UNT Libraries

Critical Study of Two Piano Transcriptions by August Stradal and the Transcriptions’ Sources: Alterations to the Score Based on Historical Evidence and Artistic Judgment

Description: The fact that a number of pianists of the past two centuries adapted, embellished, and rearranged piano works for performance, be these original works or transcriptions, has been well documented throughout history. This thought, in addition to the fact that Stradal’s scores needed revision, encouraged me to make alterations to Stradal’s transcriptions and served as a strong incentive to write the current study. In it, I will comment on the alterations performed to segments of Stradal’s piano transcriptions of Wagner’s Schluβ der letzten Aufzuges (End of the last Act) from Siegfried and Trauermusik aus dem letzten Aufzug (Siegfried’s Funeral March) from Götterdämmerung. These changes have the purpose of reflecting in the piano as closely as possible the sonorous reality of the transcriptions’ operatic sources and, by doing so, making Stradal’s arrangements more effective for performance.
Date: May 2015
Creator: Vizcarra, Juan Guillermo
Partner: UNT Libraries

Historical Account on Thuyi

Description: Transcription and translation of the recording of Sarfaraz Khan, a speaker of Yasin Burushaski, giving a historical narrative on the royal family in Thuyi.
Date: June 26, 2010
Creator: Munshi, Sadaf
Partner: UNT College of Information

Transcriptions and Editions for Harp by Carlos Salzedo

Description: Anyone concerned with the harp in this century knows of the genius of Carlos Salzedo. His pedagogical, compositional and professional activities have had a tremendous impact on the harp world. With this in mind, the present study considers his transcriptions for harp from other works and his editings of other composers' harp compositions. It is the purpose of this study to find in what ways his work in this area has been helpful to harpists.
Date: January 1956
Creator: Thornberry, Johne Buddington
Partner: UNT Libraries

A Background and Analysis of Selected Lieder and Opera Transcriptions of Franz Liszt. A Lecture Recital, Together with Three Recitals of Works by Chopin, Schubert, Bartok, Franck, and Other Composers

Description: An understanding of the piano transcription is basic to any proper comprehension of nineteenth-century piano music and performance practice. In this study, the transcription for solo piano is examined in relation to several musical milestones in the mid-nineteenth century, including far-reaching technical developments in the piano, the beginning and growth of the public concert, the birth of the solo piano recital, and the influence of virtuosity as a Romantic ideal. In addition, as Liszt was undoubtedly the greatest transcriber of the nineteenth century, several representative transcriptions of Liszt are analyzed and compared to their original models, including Schubert's Gretchen am Spinnrade and Auf dem Wasser zu singen, Chopin's Moja pieszczotka ("My Joys"), Wagner's Liebestod from Tristan und Isolde, and the quartet from the final act of Verdi's Rigoletto.
Date: August 1980
Creator: Gibbs, Dan Paul
Partner: UNT Libraries

A Comparative Analysis of Selected Keyboard Compositions of Chopin, Brahms, and Franck as Transcribed for the Marimba by Clair Omar Musser, Earl Hatch, and Frank MacCallum Together with Three Recitals of Works by Bartok, Crumb, Miyoshi, Kraft and Others

Description: This study is an examination of Earl Hatch and Clair Musser's transcriptions for marimba of Chopin's Waltz, Opus 64 No. 1, Musser's arrangement of Chopin's Mazurka, Opus 17 No. 4, Hatch's setting of Brahms' Hungarian Dance No. 5, and Frank Mac Callum's treatment of Franck's "Chorale" from the Prelude, Chorale and Fugue. Additionally, the role of the transcription during the Romantic Period, the historical development of the marimba transcription, and performance considerations of the specific works presented are discussed.
Date: December 1980
Creator: Houston, Robert E.
Partner: UNT Libraries

Original Viola Study Literature: Analyzing the Pedagogical Contributions of Marco Frank

Description: Viola pedagogy has historically been closely intertwined with and highly dependent upon violin repertoire. As the viola emerged as an instrument worthy of independent study, many still rely on transcriptions of violin etudes. Fortunately, the efforts of performers, teachers, and scholars have brought forth discoveries of original viola literature and thus shifted toward the perception that viola should begin to embrace its individual pedagogy. Viennese composer and violist Marco Frank contributed three volumes of Viola-Etuden and a method book, Praktische Viola-Schule, which are suitable for the intermediate violist. This document explores and analyzes the usefulness of an original viola series in comparison to the ‘tried and true' violin transcriptions.
Date: May 2018
Creator: Salinas, Ashley Danielle
Partner: UNT Libraries

Liszt's Schubert Lieder Transcriptions: A Study of Liszt Pianistic Idoms in the Transcriptive Procedure. A Lecture Recital, Together with Three Recitals of Works by Mozart, Debussy, Schumann, Griffes, and Other Composers

Description: Franz Liszt, who was the greatest virtuoso pianist in the nineteenth-century, was also a productive composer. But his tremendous technique brought the misunderstanding that his compositions were just flashy and superficial, thus creating an obstacle for appreciating his music. The purpose of this study is to encourage an understanding of the value of Liszt's music, especially his Schubert Lieder transcriptions. The study starts with an introduction, which states the revival of the art of transcription, gives the muscial background of Liszt and describes the instruments that were available to him. Then follows a discussion about his experimentation with the conventional piano techniques and how he applied them to the song transcriptions. Two transcriptions "Hark, Hark, the Lark" and "Der Lindenbaum" are analyzed in detail to show the transcriptive procedure and the relation between the poetry and the musical expression. A conclusion summarizes the study.
Date: August 1983
Creator: Ku, Hsiao-hung
Partner: UNT Libraries

The Improvisational Vocabulary of Pepper Adams: A Comparison of the Relationship of Selected Motives to Harmony in Four Improvised Solos

Description: Park "Pepper" Adams, III (1930-1986) is one of the most influential baritone saxophonists in the history of modern jazz. In addition to his time feel, his timbre, and other conceptual techniques, a great deal of Adams's improvisational style and vocabulary can be illustrated by his use of three motivic devices. These three motivic devices are: (1) his utilization of the sixth degree of the major scale as an important melodic pitch; (2) his use of a paraphrased portion of the melody of the popular song "Cry Me a River;" and (3) his use of the half-whole octatonic scale when the rhythm section sounds a dominant chord. This dissertation traces the way in which Adams applies these three motivic devices through four of his original compositions, "Enchilada Baby," "Bossallegro," "Lovers of Their Time," and "Rue Serpente." All four of these compositions were recorded by Adams on his 1980 album, The Master. In addition to the motivic analysis, a biography of Adams is included. Complete transcriptions by the author of Adams's improvised solos on the four compositions are included in the appendices.
Date: August 2005
Creator: Lington, Aaron Joseph
Partner: UNT Libraries

Four Organ Chorale Preludes of Johann Sebastian Bach (1685-1750) as Realized for the Piano by Ferruccio Busoni (1866-1924): A Comparative Analysis of the Piano Transcriptions and the Original Works for Organ. A Lecture Recital, Together with Three Recitals of Selected Works of J. Sweelinck, J.S. Bach, W. Mozart, F. Schubert, J. Brahms, and S. Prokofieff

Description: Busoni's contribution to the art of the piano transcription is formidable. His chorale prelude transcriptions make him responsible for giving over to the piano repertoire a small portion of sacred literature. His special admiration of J. S. Bach, evidenced throughout his life, make Busoni's transcriptional practices all the more significant. Bach himself was a prolific transcriber of his own works and the works of others. This paper presents a brief history of keyboard transcriptional practices, emphasizing Busoni's methods by comparing the original works for organ with the transcriptions for piano. Four chorale preludes form the basis for this study: Ich ruf' zu dir, Herr Jesu Christ (BWV 639), Komm, Gott, Schopfer, Heiliger Geist (BWV 667), Nun komm' der Heiden Heiland (BWV 659), and In dir ist Freude (BWV 615).
Date: August 1980
Creator: Lauderdale-Hinds, Lynne Allison
Partner: UNT Libraries