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Riders to the Sea

Description: Riders to the Sea is a chamber opera in one act of approximately 40 minutes in duration. The single act is divided into six scenes that progress without pause. The vocal parts are comprised of 2 sopranos, 1 mezzo-soprano, 1 baritone, and an off-stage chorus of men's voices (tenor I, tenor II, baritone, and bass; two per part). The orchestra will be comprised of winds (1-1-1-1-1), brass (2-2-1-1), strings (2-2-2-2-1), piano, 2 percussionists, and tape, that will be used to provide a continuous background of surf and wind sounds. Authentic Irish folk songs are threaded throughout the work, generally functioning as a background element, while twentieth-century compositional techniques are utilized primarily for special effects.
Date: December 1993
Creator: Carson, Michael, 1959-
Partner: UNT Libraries

A Day for Dancing: The Life and Music of Lloyd Pfautsch

Description: In January of 2001 Jon Pfautsch, Lloyd’s youngest son, put together a CD collection of performances of as many of his father’s compositions as were known to be extant. Most were from Dr. Pfautsch’s personal collection; the rest were given to him by colleagues and former students. The collection spans nearly 50 years and involved media as varied as paper and acetate reel-to-reel tapes, cassette tapes, LP’s and CD’s. While the fidelity is not always what one would hope, the value is in hearing the composer conduct his own works (in most cases) with a few performed by colleagues or former students, but chosen by him for this collection. They are numbered according to Track Numbers, and the “Example” numbers refer to the illustrations in UNT Press’s A Day for Dancing: The Life and Music of Lloyd Pfautsch. Note: the final selection was not used as a musical example, but appears here because it is the one composition for which Pfautsch most wished to be remembered (“Music When Soft Voices Die”).
Date: 2014
Creator: Hart, Kenneth W.
Partner: UNT Press

The Nothingness of Presence: Sound, Ritual, and Encounter in the Music of Into Your Hands

Description: The ritual music written for the Compline service of the Liturgy of the Hours, Into Your Hands, is analyzed using an ontological and phenomenological approach, which seeks to answer how such sound/musical phenomena wed to the specific ritual dynamics of Compline in their own right can create a potential for encounter with the Divine. The Jewish philosopher Martin Buber’s understanding of encounter is used to show that the sound/musical phenomena in itself bears similarities with the nature of the Judeo/Christian God, and such a nature is revealed to be both irreducibly non-conceptual as well as an entity that establishes the ontological actuality of one’s being. Studies in the beginnings of humanity at large as well as the beginnings of the individual fetus reveal that an integrated expression of music and ritual can be said to have formed the impetus of such ontological beginnings through encounter. Therefore, one of the first sounds heard in the womb - that of water (or amniotic fluid) - constitutes what may be an archetypal sound of encounter. The phenomenological effects of such an archetype are analyzed in the music of Into Your Hands through topics such as the loss of aural perspective, immersion, dynamic swells, cyclic harmonic progressions, and simultaneity. Works of other composers who use similar techniques are discussed.
Date: May 2015
Creator: Evans, Eric
Partner: UNT Libraries

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
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

Song of Pi-Pa

Description: Sona of Pi-Pa is a composition set to a poem to be performed by soprano and mixed instrumental ensemble. The formal plan is through-composed and the organization of each individual piece is largely determined by the structure of the poetic text. The text, drawn from Song of Pi-Pa by Po Chu-i, depicts the story of how the poet became overwhelmed by the chance hearing of a virtuosic performance of a woman playing the pi-pa. The general characteristics of the work reflect the assimilation of certain non-western musical and philosophical influences. Traditional western compositional techniques are also employed in the treatment of thematic materials, musical form, instrumentation, and the developmental process. The total performance time for this composition is approximately twenty-six minutes.
Date: August 1994
Creator: Tseng, Yu-Chung, 1960-
Partner: UNT Libraries

The Effect of Individual Versus Collective Creative Problem Solving Experiences on Fourth- and Fifth-grade Students' Compositional Products.

Description: The purpose of the study was to explore the effects that individual vs. collective structured creative musical problem solving tasks had on students' compositional products. Subjects in a convenience sample of 32 fourth-graders and 32 fifth-graders were randomly assigned to either the individual or collective condition. The 3 treatment sessions were characterized by an open-ended creative problem solving task, which included questions intended to guide subjects through 3 stages of the creative problem solving process: Understanding the Problem, Generating Ideas, and Planning for Action. Subjects participated in the pre- and posttest individually. Three experienced music educators assessed the compositional products in terms of pattern use, cohesiveness, and creativity. The originally intended MANCOVAs could not be carried out because the data did not meet the necessary assumptions. Pretest and posttest scores were explored with individual ANOVAs. The Bonferroni technique was used to adjust the alpha level. The statistical analyses showed that subjects exposed to the individual condition obtained higher scores than subjects exposed to the collective condition on six of the eight explored subtests, but these differences were not significant. The level of interjudge reliability decreased at each of the three measurements of the study: pilot test, pretest, and posttest. The study's results suggest that music educators interested in observing specific characteristics of individual students' compositional products, such as the levels of cohesiveness, creativity, and pattern use, could do so regardless of the condition under which students were exposed to compositional tasks, either individually or collectively. Recommendations for future research include the use of a measurement instrument specifically designed for open-ended tasks, and the exploration of the current study's measurement instrument with closed-ended tasks. The study highlights the need for appropriate measurement instruments designed for the compositional tasks at hand, and the need for research results reported clearly, so that more ...
Date: December 2004
Creator: Aguilar, Beatriz E.
Partner: UNT Libraries

"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
Partner: UNT Libraries

Motives, Allusions, and Eclecticism: A Panametric Analysis of the First Movement of Christian Lindberg's Mandrake in the Corner Based on the Method of Jan LaRue

Description: For more than 20 years, Christian Lindberg has been internationally recognized as the premiere trombone soloist of our time. Few, however, are familiar with his compositions. For over ten years, he has composed many solo and ensemble works for trombone. Many prominent musical organizations in the world have performed Lindberg's music, including the Chicago Symphony Orchestra, the St. Paul Chamber Orchestra, and the University of North Texas Wind Ensemble. Today, Christian Lindberg has commission requests up to 2010. Christian Lindberg completed Mandrake in the Corner, a three movement concerto for trombone, in 1999. The purpose of this dissertation is to present an analysis of the first movement of Mandrake in the Corner to provide the first in depth study of Lindberg's compositional style. This analysis borrows freely from the method of Jan LaRue, which focuses on sound, harmony, melody, rhythm, and growth of musical structure on the small, middle, and large levels. The focus of this study centers on the aspects of melody, harmony, and rhythm to explain how the piece works despite the lack of a second theme or change of key in the first movement.
Date: May 2007
Creator: Underwood, Michael
Partner: UNT Libraries

A Tagmemic Analysis of Coherence in the Writing of Descriptive Texts by College Students

Description: For this study an attempt was made to bridge the disciplines of linguistics and composition in order to examine factors contributing to textual coherence. Pairs of descriptive texts written by fifty college students were examined in order to identify the factors which differentiate quality and topic. Students were asked to compose a descriptive paragraph on the topic of fall. They were then encouraged to use their five senses, given leaves, and asked to compose a paragraph describing the leaves. The pairs of texts thus elicited were evaluated for preference by readers. The ANOVA revealed a significant difference (p=.001) between the two topics with fall texts preferred over the more specific leaves texts. Results suggest that encouraging students to use their five senses does not improve their writing. It may be more important to move through various levels of abstraction than to merely focus on sensory detail. The texts were also scored holistically by two trained evaluators. Results of this grading were used to choose five high- and five low-coherence texts on each of the two topics. These 20 texts were then analyzed in terms of the tagmemic referential hierarchy. A MANOVA was done to examine the dependent variables of Slot (location in time or space), Role (purpose or reason), and Cohesion (sociocultural context) in relation to quality and topic for these texts. Slot was found to be significant for both quality (p=.025) and topic (p=.004). Role was significant only for quality (p=.001). Cohesion was nonsignificant for either quality or topic. These results suggest that students should: (a) be encouraged to locate their texts in time and space in order to develop an adequate context for readers; (b) be encouraged to include purposes and reasons for the statements they make; and (c) be encouraged, where appropriate, to include a focus on ...
Date: August 1988
Creator: Kent, Carolyn E. (Carolyn Elizabeth)
Partner: UNT Libraries

An Initial Study of Binary and Ternary Ti-based Alloys Manufactured Using Laser Engineered Net Shaping (LENSTM)

Description: In this study an initial assessment of the composition – microstructure – property relationships in binary and ternary Ti – based systems are made possible using LENSTM technology. Laser Engineering Net Shaping (LENSTM), a rapid prototyping, directed laser deposition methodology of additive manufacturing (AM) was used to create bulk homogenous specimens that are compositionally graded. Compositionally graded specimens were made possible by incorporating elemental blends of powder during the LENSTM process. While there have been numerous studies assessing the influence of common elements (e.g., V, Mo, Al, and Cr) on the resulting microstructure in titanium alloys, other elements have been neglected. A systematic study of the Ti – Fe – Al ternary system based upon varying compositions of the eutectoid former, Fe with Al to stabilize the a and b phases respectively has also been neglected. This research effort focuses on exploiting the LENSTM process by rapidly assessing the composition – microstructure – property relationships in a combinatorial approach for the Ti – W, Ti – Fe, and Ti – Fe – Al systems. Compositionally graded specimens of Ti – xW (0<x<40wt.%(14.79at.%)), Ti – xFe (0<x<35wt.%(36.37at.%)), and Ti – xFe – yAl (0<x<40wt.%(36.37at.%)), y=5,10, 15wt.%) have been heat treated to also assess the influence of thermal history on microstructural features such as phase composition and volume fraction. Lastly, a Ti – xMo (0<x<40wt.%(24.96at.%)) compositionally graded specimen was deposited to re-assess the Mo-equivalency nature of W, as well as assess the role of phase separation in microstructural evolution at temperatures above and below the invariant point (~695°C) of the Ti – W binary system.
Date: December 2015
Creator: Gray, Alyn M.
Partner: UNT Libraries

Teaching the College Freshman to Write

Description: This thesis will deal with five points of emphasis--content, logic, organization, demon errors, and style. Not a complete manual for teaching freshman composition, this thesis will serve as a simplified guide. This thesis is written for the inexperienced teacher of freshman English who may need guidance, but it should also be of interest to the experienced teacher who wants to confirm his own practices or to find new approaches for teaching the college freshman how to write.
Date: August 1969
Creator: Harris, Pamela Matheidas
Partner: UNT Libraries

Instruction in Composition through Small-Group Activities for Secondary Students

Description: It is the purpose of this thesis to describe various small-group activities which could be used in classes of secondary English to help to "teach-Johnny-to-write." These activities are divided into four areas of study--developing and practicing specific skills related to writing, developing a topic, planning a theme, and evaluating student writing.
Date: August 1969
Creator: Jensen, Ann L.
Partner: UNT Libraries

Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements

Description: Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.
Date: December 2010
Creator: Rostovtsev, Ilya Y.
Partner: UNT Libraries

Written Composition in the Intermediate Grades

Description: The problem with which this study is concerned is the development of a program for teaching composition skills to children in the intermediate grades. The study is based on a survey of research, reports, books, and articles in the field, and on the teaching experience of the author. The organization of the study follows the actual steps in initiating a program for composition teaching in the intermediate grades.
Date: December 1970
Creator: Coody, Alice L.
Partner: UNT Libraries

A Composition Program for Accelerated High School Students

Description: Since so many aids are available to help the teacher in the actual process of writing, this study will concentrate on the various ways in which other benefits, such as heightened awareness, educated imagination, increased self-esteem, and improved critical judgment, can be integrated into a composition class for accelerated students.
Date: August 1969
Creator: Reynolds, Grover A.
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

Traditional Versus Progressive Practices in Teaching Composition in the Lower Grades

Description: The purpose of this study was to review and present the traditional versus the progressive practices in the teaching of composition as presented in the articles written on the teaching of composition in The Elementary English Review, volumes VIII - XVIII, years, 1931-1941, inclusive.
Date: 1942
Creator: Coston, Elsie May
Partner: UNT Libraries

Significant Influences in the Composition of Hendrik Hofmeyr's Song Cycle, Alleenstryd

Description: The poet of this cycle, Sydney Vernon Petersen, was a man who faced great adversity during Apartheid. The title of this cycle, Alleenstryd, is an Afrikaans term for 'a struggle alone.' Petersen was of mixed heritage or "Coloured" and born in South Africa in 1914. He died in 1987. His most important works in Afrikaans poetry were published between 1948 and 1965. This cycle specifically focuses on the relationship between the poet and his community, the isolation he endured within that community, the depths of despair he felt and how he overcame those obstacles to finally achieve a sense of self-worth. This group of poems, first published as an anthology by Tafelberg Press in 1979, became the source of inspiration for the composer Hendrik Hofmeyr. The purpose of this research is to identify the significant social, political and musical influences on the composer which contributed to the composition of Alleenstryd (1996), especially the significance of his self-imposed exile. Also, the Afrikaans language, a derivative of 17th century Dutch, is a language dear to its speakers but not widely accessible or familiar to most other nations. Hopefully this research will provide more information and make the language, its composers and the story of the dark history surrounding Apartheid and specifically the individuals who excelled through hardship, available to more people.
Date: August 2009
Creator: Cupido, Conroy Alan
Partner: UNT Libraries

Voci Lontani for flute, trumpet, percussion, piano, and string quartet: Critical essay and score.

Description: This project consists of an original composition, Voci Lontani, and a critical essay about the composition. In this piece, the idea of musical simultaneity is explored. Therefore, the piece focuses on the idea of contrast: between measured rhythms and indeterminate rhythms, between tonality and atonality, and between musics in separate tempos. In order to explore the significance of musical simultaneity, four important compositional concepts-the simultaneous juxtaposition of different musics, polyrhythmic structure, controlled indeterminacy, and quotation-are discussed. Also, several examples of twentieth-century music that use these concepts are analyzed in the essay.
Access: This item is restricted to the UNT Community Members at a UNT Libraries Location.
Date: August 2004
Creator: Goto, Yo
Partner: UNT Libraries