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Breaking Through: A Composition for Symphony Orchestra

Description: Breaking Through is a single-movement composition for symphony orchestra based on a fourteen-note melody. Every harmonic and melodic figure except the bass line is derived from this source melody. The structure of the work is based on a number of musical dichotomies that work on both local and large-scale levels. The local dichotomies contrast consonance with dissonance and ambiguity with clarity (in respect to texture and rhythm). The dichotomy of two-part form versus three-part form and the dichotomy of simplicity versus complexity operate on the large scale. The unity lended by the single source melody coupled with the contrasts furnished by the aforementioned dichotomies allow Breaking Through to be both coherent and interesting.
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Date: August 2002
Creator: Dribus, John Alexander
Partner: UNT Libraries

A Comparative Analysis of the 1915 and 1919 Versions of Symphony No. 5 in E-flat Major, op. 82 by Jean Sibelius

Description: The initial composition of the Fifth Symphony in E-flat Major, Op. 82 was undertaken as a commission to celebrate the composer's fiftieth birthday. Unhappy with the initial efforts, two revisions were then performed; the first was in 1916 and the final revision in 1919. Despite the larger form of the work seeming to have been changed between the 1915 and 1919 versions, the smaller gestures of thematic expression in both versions remained similar. On the surface, it had appeared that the composer had eliminated a movement, changing the 1919 version into a three movement form. This view was not challenged by the composer at the time, and since the earlier versions had either been withdrawn or destroyed, there was no way to compare the original efforts to the final product until recently. In comparing the 1919 version to the original, a definite strong parallel can be seen between the two - despite the changes to form, rearrangement of melodic material, and the seemingly different number of movements. However, the parallel is enough that the 1915 version can be a guide to classifying the 1919 version, an act that has eluded many scholars since the 1920s. Most importantly, comparing the two versions shows that the 1919 version is not a three movement form at all; it is a four movement form that is obscured by the connection of the first and second movements by a thematic bridge that contains elements from both movements, but is not placed within either structure.
Date: May 2010
Creator: Norine, John Richard, Jr.
Partner: UNT Libraries

Comparison and Contrast of Performance Practice for the Tuba in Igor Stravinsky's The Rite of Spring, Dmitri Shostakovich's Symphony No. 5 in D major, Op. 47, and Sergei Prokofiev's Symphony No. 5 in B flat major, Op. 100

Description: Performance practice is a term familiar to serious musicians. For the performer, this means assimilating and applying all the education and training that has been pursued in a course of study. Performance practice entails many aspects such as development of the craft of performing on the instrument, comprehensive knowledge of pertinent literature, score study and listening to recordings, study of instruments of the period, notation and articulation practices of the time, and issues of tempo and dynamics. The orchestral literature of Eastern Europe, especially Germany and Russia, from the mid-nineteenth century through the mid-twentieth century provides some of the most significant and musically challenging parts for the tuba. The works of Igor Stravinsky, Sergei Prokofiev, and Dmitri Shostakovich, along with their orchestral contemporaries, represents a significant portion of this literature. This study examines a seminal work in the orchestral genre from each of these three Russian composers. The role of the tuba in each work is discussed. Excerpts of the tuba part are examined in terms of performance issues such as range, rhythm, phrasing, and scoring. Comparisons and contrasts are drawn as to how each composer used the tuba and the effectiveness of the utilization.
Date: May 2006
Creator: Couch, Roy L.
Partner: UNT Libraries

Sonata form in the symphonies of Mozart

Description: For this study, the forms of the movements of forty-four symphonies of Mozart-those appearing in the Breitkopf and Hartel "complete" edition of his works- were analyzed. For convenience of reference, the symphonies are discussed in this thesis in their conventional numbering-that of the Breitkopf and Hartel edition- except for six symphonies that appeared in a supplementary volume and are inserted in this study into their approximately correct chronological positions.
Date: May 1964
Creator: Chism, Oscar Olin
Partner: UNT Libraries