41 Matching Results

Search Results

S'I' Fosse Foco, Arderei'l Mondo

Description: The dissertation is recorded computer music. It has a duration of fourteen minutes and fifty seven seconds. The source sound material is a reading of a sonnet of the same name by thirteenth century Sienese poet Cecco Angiolieri. It utilizes Linear Predictive Coding and Short-time-fourier synthesis in addition to postprocessing by spatialization and digital filtering. The discussion of the piece includes an explanation of the synthesis techniques, the pitch manipulation algorithms and the programs written by the composer to generate computer scores based on these algorithms, and finally how the individual musical events were generated and mixed together. The computer scores and programs used to generated these scores are provided after the discussion.
Date: May 1993
Creator: De Lisa, Eugene, 1957-
Partner: UNT Libraries

“In Old Mexico:” Suite for Solo Piano

Description: There is often difficulty in determining the most desirable medium to be used in the composition of music. After careful consideration, the writer chose the medium of piano to present the following musical composition. In the initial investigations, it appeared that the vocal idiom might provide a more suitable choice. However, piano teaching rather than work in the vocal field will probably consume a greater part of the writer's time in the future. The writing of a piano composition, then, appeared to be a justifiable decision.
Date: May 1947
Creator: Robinson, Frances O.
Partner: UNT Libraries

A Comparative Study of the Harmonic Equipment and Formal Features in the String Quartets by Claude Debussy and Maurice Ravel

Description: This thesis proposes to determine the construction of the two string quartets and to reveal through the study of the quartets the similarities and contrasts of the creative musical characteristics of Debussy and Ravel.
Date: August 1952
Creator: Jenkins, Robert E. (Robert Eugene),1929-
Partner: UNT Libraries

In Nomine Domini

Description: In Nomine Domini is an eighteen-minute composition for two chamber orchestras with two soloists using real-time interactive signal processing techniques. The first chamber orchestra is scored for flute (piccolo), English horn, trumpet in C, trombone, two percussionists (cowbells, wood blocks, tenor drum, suspended cymbal, gongs, tam-tam, temple blocks, tambourine, snare drum, timbales, and bass drum), horn in F (soloist), viola, and string bass. The second chamber orchestra is scored for oboe, clarinet in Bb (bass clarinet in Bb), bassoon, tuba, two percussionists (crotales, two marimbas, vibraphone, chimes, and tom-toms), piano (soloist), violin, and cello. Real-time interactive signal processing techniques are achieved through the use of a stereo multiple-effects signal processor and a personal computer running MIDI interactive software. The work is based upon the four-hundred and seventy-five year old in nomine composition tradition begun by John Taverner in the Benedictus of his Mass Gloria tibi Trinitas (1520) and continued in over one-hundred and fifty Renaissance settings. In Nomine Domini consists of three movements: "Taverner* derived from the Benedictus of the Mass Gloria tibi Trinitas (1520), "Byrd" derived from the Benedictus of William Byrd's Five-voice Mass (1592), and "Tye" derived from Christopher lye's In Nomine XIII "Trust" (1578). In Nomine Domini applies the English art of change ringing and three computer-assisted composition techniques: stochastic processes, fractal applications, and conditional probabilities.
Date: August 1995
Creator: Crowley, Timothy R. (Timothy Robert)
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

Sinfonietta

Description: Sinfonietta is a work of about 18 minutes for orchestra with an instrumentation of 3 flutes, 2 oboes, 3 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, 4 timpani, percussion, harps, piano and strings. Three players are required for the percussion battery. The work is in four movements: Prelude, Theme and Variations, Largo and Finale. Movement I is in a tri-partite design. In the second movement, the theme is first enunciated by a solo violoncello in its high register followed by seven variations in the orchestra. In Movement III, there are three brief sections plus a longer coda which links to the Finale, the last movement of the Sinfonietta. This movement ends the work with a double fugal section where many of the important features used in the work recur. The movements are made coherent by means of cyclic treatment of the material.
Date: December 1994
Creator: Au, Siu-ming Stefan
Partner: UNT Libraries

An Analysis of Growth in Karel Husa's Music for Prague, 1968

Description: The problem is to relate four parameters, thematic development, chord tension, tonality, and rhythm to musical Growth in Karel Husa's Music for Prague 1968. The analytical technique consists of determining a typology and relating that to Growth and is applied in small dimensions to the "Introduction" and in large dimensions to the whole composition. Movement in the composition is goal oriented, and each parameter contributes in different ways, one providing contrast, another continuity, and another variety. Shapes are delineated by cadences characterized by a decrease followed by an increase in Movement. Growth is characterized by Shapes in which Movement starts at a low level, moves to a climax three quarters through, and relaxes for the end of the Shape.
Date: May 1976
Creator: Davidson, Richard C.
Partner: UNT Libraries

The Melodic Use of the Augmented Second in the Eighteenth Century

Description: When a particular phase of music theory is omitted from the contents of a treatise or textbook on that subject, the omission can usually be ascribed to one of two causes. Either the omitted phase is of little importance or it is not used in the music of the period on which the treatise or textbook is based. It is the purpose of this research study to discuss a particular phase of music theory that has been omitted or avoided by numerous counterpoint and theory textbook authors. The material in the contents of this work is based on a discussion of the melodic use of the augmented second in the music of the eighteenth century.
Date: January 1952
Creator: Shipp, Clifford M. (Clifford Marion)
Partner: UNT Libraries

Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble

Description: Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.
Date: August 1986
Creator: Chapman, Davis Howard
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

Atmosphantoms

Description: This work for harp and string orchestra uses musical materials derived from a chord taken from the lydian mode. The three major formal divisions are A, B, and A'. The A and A' sections are more homophonic in texture and slower in harmonic rhythm. The B section is mostly contrapuntal. Sections A and A' are dreamy and dance-like while the B section is turbulent and unrestful. These characteristics are represented by sustained sonorities, twoagainst- three rhythmic configurations, and lilting melodic materials in sections A and A', as opposed to the fragmented, ever-changing melodic material of the B section. The interweaving of the musical materials into a consummate form represents the conversations, personalities, and exploits of these Atmosphantoms, giving the music its philosophical and conversational character.
Date: August 1988
Creator: Morris, Timothy Lane
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 Influence of Hindemith's Harmonic Theories on Das Marienleben, op. 27

Description: This study attempts to show the relationship of Hindemith's harmonic theories and practice in the revision of Das Marienleben, op. 27. The study is based on Hindemith's The Craft of Musical Composition, commentaries on Hindemith's application of his theories, and analyses of Das Marienleben. Chapter One concerns Hindemith's contribution as a theorist, including a synopsis of his harmonic theories, and his application of the theories in his compositions. Chapter Two concerns Das Marienleben itself, including general information about the work and its revision, and an analytical comparison of its two versions. Chapter Three concludes that Hindemith made improvements in the new version in accordance with his harmonic theories through replacing ambiguous harmony with carefully controlled fluctuation and clearly defined tonalities.
Date: August 1978
Creator: Kubitza, Jana L.
Partner: UNT Libraries

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

Quintet for Woodwinds

Description: The purpose of writing the quintet for Woodwinds is to produce composition for woodwind ensemble containing elements of significant musical form. Much of the quintet music. by composers such as, Reicha and Taffanel is characterized by pure virtuosity of style and lack of significant musical form. The Quintet for Woodwinds utilizes the conventional instrumentation for a woodwind quintet, that is, flute, oboe, clarinet (Bb), Horn in F,, and bassoon. In the Third Movement (Playfully) the piccolo is to be used as an alternate instrument with the flute.
Date: January 1956
Creator: Hutchison, Warner, 1930-
Partner: UNT Libraries

Night of Glass

Description: Night of Glass is for chamber orchestra with an estimated performance time of 14 minutes. The instrumentation for the work, using one player per part, is Flute (also small glass wind chimes), Oboe (also 1 tuned water crystal), Clarinet in A (also small glass wind chimes), Bassoon (also 1 tuned water crystal), Horn in F (also 1 tuned water crystal), Trumpet in C (also 2 tuned water crystals), Percussion (Vibraphone, Glockenspiel, Chimes, Bell Tree, Hammered Dulcimer, 3 Suspended Cymbals, 1 Large Tam-tam, 4 Roto Toms, 3 Tympani), Piano, 1st Violin, 2nd Violin, Viola, Cello, and Double Bass, While not programmatic, the work is divided into six sections each expressing a predetermined emotional content: fragility, anxiety, solitude, fear, catharsis, and reconciliation. All are emotional contents which are found in the dream-state that is reflected in the work's title. All aspects of Night of Glass (i.e., pitch material, form structure, and structural density) are centered around the unifying factor of emotional projection within each section. The work seeks emotional content through the expansion of composition procedures while being accessible to listeners.
Date: May 1988
Creator: Sanders, Gregory L. (Gregory Lynn)
Partner: UNT Libraries

Concerto for Piano, Winds, and Percussion

Description: "Concerto for Piano, Winds, and Percussion" is, as the title implies, a piece which features the solo piano in combination with an ensemble of winds and percussion. The instrumentation of the ensemble is two flutes; oboe; two Bb clarinets; Eb alto clarinet; Bb bass clarinet; bassoon; two Bb trumpets; two F horns; two trombones; baritone; tuba; and a percussion section of three players playing timpani, tambourine, xylophone, vibraphone, glockenspiel, chimes, triangle, suspended cymbal, snare drum, bass drum, two bongos, and small woodblock. The major sections of the piece are distinguished primarily by tempo. The fast-slow-fast arrangement of those sections aligns it with the traditional concerto format. The piece is in one movement and is approximately twelve and one-half minutes in duration.
Date: August 1982
Creator: Ring, Gordon L. (Gordon Lee)
Partner: UNT Libraries

Béla Bartók's "Four Dirges" for Piano, Op. 9a: A Complete Analysis

Description: The study of Bela Bartok's Four Dirges for piano (1909- 1910) is significant in that this period of 1908 to 1910 was particularly experimental and formative for Bartók, especially in tonal aspects of his compositional style. Furthermore, very little research and analysis has been done on these smaller works. This thesis contributes an analytical study of this early style and also shows its influence on larger mature works in subsequent years. A complete analysis on each dirge contains graphs of tonal structures and patterns constructed by Bartok within each composition. The concluding chapter summarizes overall characteristics of the dirges.
Date: August 1980
Creator: Terrell, John W.
Partner: UNT Libraries

The Design of Microcomputer-Based Sound Synthesis Hardware

Description: Microcomputer-based music synthesis hardware is being developed at North Texas State University (NTSU). The work described in this paper continues this effort to develop hardware designs for inexpensive, but good quality, sound synthesizers. In order to pursue their activities, researchers in computer assisted instruction in music theory, psychoacoustics, and music composition need quality sound sources. The ultimate goal of my research is to develop good quality sound synthesis hardware which can fill these needs economically. This paper explores three topics: 1) how a computer makes music--a short nontechnical description; 2) what has been done previously--a review of the literature; and 3) what factors bear on the quality of microcomputer-based systems, including encoding of musical passages, software development, and hardware design. These topics lead to the discussion of a particular sound synthesizer which the author has designed.
Date: May 1980
Creator: Hamilton, Richard L.
Partner: UNT Libraries