Search Results

Master's Recital: 2012-04-03 - Ryan Burd, percussion

Description: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Master of Music (MM) degree.
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Date: April 3, 2012
Creator: Burd, Ryan
Item Type: Sound
Partner: UNT Music Library

Jazz Recital: 2012-02-29 - Jazz Repertory Ensemble

Description: A jazz ensemble concert performed at UNT College of Music Kenton Hall.
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Date: February 29, 2012
Creator: Jazz Repertory Ensemble
Item Type: Sound
Partner: UNT Music Library

Master's Recital: 2012-04-10 - Ok-Hyun Kwak, jazz composition

Description: Recital presented at the UNT College of Music Kenton Hall in partial fulfillment of the Master of Music (MM) degree.
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Date: April 10, 2012
Creator: Kwak, Ok-Hyun
Item Type: Sound
Partner: UNT Music Library

Master's Recital: 2012-04-11 - Paul Shinn, piano

Description: Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Master of Music (MM) degree.
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Date: April 11, 2012
Creator: Shinn, Paul
Item Type: Sound
Partner: UNT Music Library

Ensemble: 1999-11-10 Swing Strings

Description: A jazz concert performed at the UNT College of Music Kenton Hall.
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Date: November 10, 1999
Creator: Swing Strings
Item Type: Sound
Partner: UNT Music Library

Ensemble: 1999-10-11 Jazz Repertory Lab

Description: A jazz ensemble concert performed at the UNT College of Music Kenton Hall.
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Date: October 11, 1999
Creator: Jazz Repertory Lab
Item Type: Sound
Partner: UNT Music Library

Faculty Recital: 1999-04-07-The Faculty Jazz Sextet

Description: a faculty jazz recital performed at the UNT College of Music Kenton Hall.
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Date: April 7, 1999
Creator: Riggs, Jim; Haerle, Dan; Seaton, Lynn; Soph, Ed; Hamilton, Fred & Steinel, Michael
Item Type: Sound
Partner: UNT Music Library

Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz.

Description: In Caught Between Jazz and Pop, I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception. Chapter 1 begins with an examination of current misconceptions about the origins of smooth jazz. In many jazz histories, the origins of smooth jazz are defined as a product of the jazz-fusion era. I suggest that smooth jazz is a distinct jazz style that is not a direct outgrowth of any mainstream jazz style, but a hybrid of various popular and jazz styles. Chapters 2 through 4 contain eight case studies examining the performers of crossover jazz and smooth jazz. These performers have conceived and maintained distinct communicative connections between themselves and their audiences. In the following chapter, the unfair treatment of popular jazz styles is examined. Many early and influential jazz critics sought to elevate jazz to the status of art music by discrediting popular jazz styles. These critics used specific criteria and emphasized notions of anti-commerciality to support their theoretical positions. In Chapter 6, the studio recordings and live performances of smooth jazz are discussed. Critics frequently complain that most smooth jazz recordings feature glossy packaging and pristine studio editing, resulting in a too-perfect product. Although this aesthetic is the result of a unique series of interactions, recordings do not represent the complete musical nature of smooth jazz. Live performances contain important, but typically neglected aspects of smooth jazz. Live performances enable performers to extend solos, interact, and communicate directly to the audience. While recordings are a useful source for musical analysis, smooth jazz, ...
Date: December 2008
Creator: West, Aaron J.
Partner: UNT Libraries

Musical Borrowing: Referential Treatment in American Popular Music

Description: This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
Date: December 1998
Creator: DiGiallonardo, Richard L. (Richard Lee)
Partner: UNT Libraries

The Influence of Popular Music on Self-Disclosure Among Adolescents

Description: Seventy-five adolescent members of a local church youth organization completed Jourard's 40-item Self-Disclosure Questionnaire. The subjects were assigned to three groups, matched for degree of self-disclosure. A control group filled out Green's Sentence Completion Blank. A second group filled out the completion blank after listening to popular music while reading printed lyrics. The third group listened and also wrote a few sentences about the "meaning" of the music. Two judges scored the sentence completion blanks for self-disclosure. An analysis of variance of the sentence completion scores was significant at the .05 level. However, the Scheffe method revealed that only the latter two groups' means differed significantly, in that the second group increased in disclosure while the third group decreased in self-disclosure. Several factors are discussed which may account for the results.
Date: December 1976
Creator: Gentry, David G.
Partner: UNT Libraries

Developing a Guide to the Techniques of Imitating Selected Commercial Music Styles

Description: The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.
Date: August 1975
Creator: King, Jeffrey M.
Partner: UNT Libraries

Male and Female Roles in the Lyrics of Three Genres of Contemporary Music

Description: A sample of the top fifty songs of 1973 in Soul, Country-Western, and Easy Listening music is content-analyzed to determine dominant theme and type of love relationship presented. Most of the songs are about women and are sung by men. Hence, male artists continue to dominate the record industry. Criteria for evaluating direction of presentation are applied to lyrics to determine how men present women and women present men. Songs with the heterosexual theme are analyzed to determine conformity to six male and six female stereotypical traits. Males conform to the male stereotype in larger percentages than females conform to the female stereotype. Differences in female role expectations vary among the three genres.
Date: December 1974
Creator: Freudiger, Patricia T.
Partner: UNT Libraries