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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

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

Concertino for Tuba, Winds, and Percussion

Description: Concertino for Tuba, Winds, and Percussion is a work for solo tuba and an ensemble consisting of two flutes, two oboes, two clarinets, bass clarinet, bassoon, four horns, two trumpets, two trombones, bass trombone, and three percussionists. The percussionists play small, medium, and large suspended cymbals, triangle, tam tam, metal wind chimes, five tom toms, snare drum, tenor drum, bass drum, two sets of two timbales, five temple blocks, maracas, glockenspiel, vibraphone, chimes, xylophone, marimba, and five timpani. The three movements of the work follow the arrangement of the standard concerto format (fast-slow-fast). The lengths of the movements are approximately four minutes and fifteen seconds, two minutes and twenty-five seconds, and four minutes and ten seconds respectively. The total duration of Concertino is about eleven minutes.
Date: August 1985
Creator: Potter, David
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

Hymns to Inanna

Description: The poetry of Sumer, inscribed in cuneiform script on clay tablets dating from 2000 B.C., is considered humanity's earliest written literature. Hymns To Inanna is a three-movement, mixed media work based on adapted English translations from ancient Sumerian text. The text is sung by SATB choir and musically illustrated by harp, flutes, percussion, and computer-generated sound (on tape). My musical setting displays these hymns not as a reflection of antiquity but as a timeless expression of spiritual thought. Certain elements of the composition evoke associations with early culture and music. These components, however, are transformed or merged with musical characteristics of other eras, idioms, and forms thus representing a conceptual and stylistic "bridge" between past, present, and future.
Date: May 1986
Creator: Quate, Amy
Partner: UNT Libraries

The Last Seven Words

Description: The Last Seven Words is an orchestral piece with double woodwind, double brass, and two sets of timpani. The duration of the work is seventeen minutes. The forty-six 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 write an orchestra piece with a single scale and seven rhythmic patterns.
Date: August 1993
Creator: Chong, Lok-Shing
Partner: UNT Libraries

Dubuisson: A Study of His Music for Solo Bass Viol

Description: Dubuisson (fl.1666-c.1685) is the sole French viol player-composer between Nicolas Hotman (1613-1663) and Le Sieur de Sainte-Colombe (d.c.1700) whose works are extant. His four suites from a Library of Congress manuscript (1666) are the oldest dated French music for the bass viol; his approximately 125 pieces are contained in five manuscript sources. This thesis brings together, for the first time, all the music from the five sources for study and analysis. Together with the few biographical details, this material is used to assess his position within the French viol school. Brief histories of the viol and the suite in France precede a discussion of Dubuisson's contributions to the evolution of the genre.
Date: December 1988
Creator: Cheney, Stuart
Partner: UNT Libraries

Syntactic Structures in Functional Tonality

Description: Chapter I examines linguistic structures fundamental to most tasks of comprehension performed by humans. Chapter II proposes musical elements to be linguistic structures functioning within a musical symbol system (syntax). In this chapter, functional tonality is explored for systemic elements and relationships among these elements that facilitate tonal understanding. It is postulated that the listener's comprehension of these tonal elements is dependent on cognitive tasks performed by virtue of linguistic competence. Chapter III examines human information processing systems that are applicable both generally to human cognition and specifically to tonal comprehension. A pedagogy for listening skills that facilitate tonal comprehension is proposed in the fourth and final chapter and is based on information presented in preceding chapters.
Date: August 1985
Creator: Phelps, James, 1954-
Partner: UNT Libraries

The Reflection

Description: The Reflection is a piece of chamber music that describes the human nature through the use of different "meanings" in music. By using various leitmotifs and different compositional techniques, the music becomes a helpful tool to reflect meanings. On the other hand, this piece uses one special idea, which is that the whole piece can be explained in terms of visual arts. Each primary motive represents a "primary color" that reflects various "moods" or "emotions." Through using combinations and mixtures of color, different "sceneries" are formed. Furthermore, The Reflection has three basic aspects: the function of transmitting messages through music; the exploration of different functions of fifth; and the emphasis of meaning, sound effect and timbre.
Date: December 1992
Creator: Wu, Yuk Yee
Partner: UNT Libraries

Anton Bruckner's Treatment of the Credo Text in His Last Three Masses

Description: In order to investigate the stylistic transformation that occured before Bruckner abandoned the composition of Masses, this paper analyzes the Credo settings in his last three great Masses, with special attention to the treatment of the text. The relationship between the text and specific musical techniques is also considered. The trends found in these three works, especially in the last setting in F minor, confirm the assumption that Bruckner's Mass composition served as a transition to the composition of his symphonies.
Date: December 1985
Creator: Lee, Namjai
Partner: UNT Libraries

The Sonatas of Domenico Gabrielli (1651-1690) in San Petronio MSS G.I: 3-9

Description: Domenico Gabrielli's seven trumpet sonatas are among seventeenth-century trumpet repertoire predominant in the instrumental tradition of the basilica San Petronio, which flourished roughly from the election of Maurizio Cazzati as maestro di cappella in 1657 until the dissolution of the orchestra of the church in 1695. Fostered by numerous occasions for performance, the Bolognese trumpet works tend to exhibit a uniform musical style imposed by musical academies. After a discussion of the probable cause of the termination of the instrumental tradition and of the role of musical academies, this paper will be primarily concerned with formal aspects of fast movements of Gabrielli's sonatas. Despite the fact that the predominant organizing principle of the fast movements appears to be textural, a step toward ritornello form is taken in some of the movements, in which tutti and solo sections are independently developed. In particular, the recurrence of identical material in tutti confirming different keys, the thematic relation between tutti and solo, and the symmetrical and balanced tonal plan are unmistakable seeds of full ritornello form. The text is followed by critical notes and transcriptions of the seven sonatas.
Date: December 1986
Creator: Chang, Sangtae
Partner: UNT Libraries

Perception of Timbral Differences Among Bass Tubas

Description: The present study explored whether musicians could (1) differentiate among the timbres of bass tubas of a single design, but constructed of different materials, (2) determine differences within certain ranges and articulations, and (3) possess different perceptual abilities depending on previous experience in low brass performance. Findings indicated that (1) tubas made to the same specifications and constructed of the same material differed as much as those of made to the same specifications, constructed of different materials; 2) significant differences in perceptibility which occurred among tubas were inconsistent across ranges and articulations, and differed due to phrase type and the specific tuba on which the phrase was played; 3) low brass players did not differ from other auditors in their perception of timbral differences.
Date: August 1987
Creator: Cattley, Gary Thomas
Partner: UNT Libraries

Requiem for Netted Fish: An Intermedia Composition for Choir, Harp, and Dance

Description: Requiem for Netted Fish is an intermedia composition for sixteen-voice SATB choir, harp, six dancers, slide projections, and lighting. The text, taken from the poetry of Anna Akhmatova and Carolyn Forche, presents a universal, womanly rage against human repression and destruction. The poetry finds aural interpretation in sound, and visual interpretation in movement and lighting. Poetic inspiration contributes to the integration of elements in the work, as does the impulse-exchange method of coordinating mediums, which allows the dancers control of the timing of events. The resultant interdependent relationships necessary for performance contribute to the integration of the composition. The duration of this intermedia work is approximately fifteen minutes.
Date: December 1990
Creator: Hill, Jeanne E. (Jeanne Elizabeth)
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

Designs

Description: Designs is an algorithmic composition for small orchestra. The main compositional process used involves the realization and implementation of various musical algorithms discussed in the book Composition with Pitch-Classes by theorist/composer Robert Morris.
Date: August 1993
Creator: Fu, Yuen-Wai
Partner: UNT Libraries

Vocal Pitch-Matching: The Effect of Singing into the Right Ears of Fifth-Grade Students

Description: This study investigated whether fifth-grade students would sing more accurately when responding to pitch stimuli presented to the right ear as compared to left and both ears. Students were also classified as either strongly right-handed or other (left-handed or mixed) to see if ear treatment responses would differ with handedness. Sixty-six students were tested on their attempts to match 12 model pitches. Identical tests were given to each subject on 3 different days, with a different ear treatment each day. Vocal response scores were significantly better for both-ear presentation than for left-ear. No significant difference was found between right and both ears, right and left ears, or between handedness groups.
Date: August 1992
Creator: Watkins, Sharon C. (Sharon Carp)
Partner: UNT Libraries

Tempo Determination in the Choral Works of Francis Poulenc

Description: Though Poulenc marks choral compositions with metronomic indications, there are problems concerning tempo. The purpose of this paper is to determine guidelines for dealing with choral tempo. Chapter II relates biographical information pertinent to the study. Style Is examined In Chapter III, determining aspects that call tempo marks into question and influence tempo determination. In Chapter IV, the manner in which Poulenc uses tempo indications in the choral works is analysed and the relationship between form and tempo examined. Chapter V records Information bearing upon tempo from Poulenc's collaboration with conductors, as well as examining recordings of Poulenc's music in which he played or with which he expressed approval. Guidelines for determining tempo are stated in Chapter VI.
Date: May 1989
Creator: Teal, Terri Denise
Partner: UNT Libraries

Band Directors and Hearing: Measuring School Bands for Potentially Hazardous Sound Levels

Description: This investigation sought to identify sound levels potentially harmful to directors' hearing, and examine the effects of band size, instrumentation, bandroom and playing ability on sound levels. The subjects were 2 elementary, 2 middle, and 4 high school bands, in 7 rooms, 10 to 66 members, and 26 students, beginning and advanced. A sound level meter was used. Sounds were measured in flat and A-weighted decibels. Sounds measured were steady state (>.5 sec.) and impulse (<.5 sec.). Results were compared with safety limits of OSHA, EPA and Baughn's study of safety limits (1966). Results show exceedences of limits used for comparison. Small rehearsal areas and younger players seemed to cause high levels in the tests. Further testing may prove potential hazards.
Date: August 1993
Creator: Samford, Brent R.
Partner: UNT Libraries

The Effect of Teacher Approval/Disapproval on Students' On-Task Behaviors in a Selected Beginning Strings Class

Description: The present study explored whether (a) positive or negative reinforcement would produce higher percentages of on-task student behavior at set timed intervals, (b) positive, negative, or total reinforcement would increase student attentiveness after reinforcement, and (c) if natural fluctuations in teacher approval/disapproval would have any bearing on percentages of student attentiveness. Findings of the 15-day study concluded that (a) positive reinforcement maintained significantly higher levels of student attentiveness over negative reinforcement, (b) negative reinforcement did not significantly lower percentages of student attentiveness, and (c) natural fluctuations in rates of teacher approval/disapproval had no apparent effect on the amount of on-task behavior in the beginning strings class.
Date: August 1988
Creator: Thomas, Elizabeth Lord
Partner: UNT Libraries

The Fantasias of John Dowland: An Analysis

Description: In spite of an increasing interest in the analysis of Renaissance music by contemporary theorists, few analyses of lute music exist. It is hoped that this thesis will serve to open a new area of analysis to scholars of Renaissance music. Chapter I deals with the background information necessary for the analysis, including Dowland's biography, lute history, technique, and notation, and the practice of modality on the lute. An overview of Dowland's music, especially the solo lute music, ends the chapter. Chapter II traces the form and development of the fantasia and surveys Dowland's seven fantasias. In Chapters III-V, the works are divided according to mode and analyzed in terms of counterpoint, dissonance, motivic development and modality. Chapter VI provides concluding remarks.
Date: August 1986
Creator: Walker, William J. (William Jared)
Partner: UNT Libraries

A Postcard from Cairo

Description: A Postcard from Cairo is a chamber work for three performers (flute/soprano saxophone, vibraphone/conga, and electric guitar) supported by stereo tape and two digital sequencers. The musical content is a montage of Arabian, Indian, Spanish, and Moroccan ethnic music, combined with avant-garde sounds. The score reflects a mixture of traditional and contemporary elements featuring extensive use of improvisation and repetition. Each player is required to coordinate his responses in a variety of ways. Cues are governed by an analog clock, and pulses are provided by the tape/sequencer background.
Date: December 1984
Creator: Luis, Paul R. (Paul Reinaldo)
Partner: UNT Libraries

House in Heaven

Description: House in Heaven is a theatrical piece for five solo voices (one soprano, two mezzo sopranos, one baritone, and one bass), two trumpets, four French horns, one trombone, two flutes, two clarinets, two bassoons, string orchestra, vibraphone, timpani and a synthesizer which produces pipe organ sound. The composition consists of an introduction followed by a single act in three Scenes. The piece employs the cyclical device in engaging themes associated with particular characters. The texture grows from simple alternating dialogues to arias and, finally, to tutti passages in which all voices are combined to form a quintet, at the climactic point of the entire composition, which occurs at the end of the piece. The scenes depict imaginary events in a Church and at a flower garden. Rear-stage slide projections are used to project the scenes of these locations, and lighting is used to emphasize actions, characters and changes of scene. The singers also serve as actors. The duration of this work is approximately 20 minutes.
Date: December 1993
Creator: Gan, On C. (On Cally)
Partner: UNT Libraries

Ka: a Composition for Chamber Orchestra in One Movement

Description: Ka is a one movement composition for chamber orchestra consisting of three sections. The work's harmonic, melodic and rhythmic materials are derived from the Chinese I Ching ("Book of Changes"). The middle section was composed with the aid of a computer program written by the composer. The program generated the interval sequence arrays forming the harmonic basis for the piece. Ka is scored for flute, oboe, B𝄬 clarinet, bassoon, French Horn, trumpet, trombone, three percussionists, violin, viola, cello and double bass. The score is 62 pages with a 39 page analysis preceding the score. Ka has a duration of approximately 10 minutes with no pauses between sections.
Date: December 1993
Creator: Morgan, Christopher R. (Christopher Robert)
Partner: UNT Libraries

Psalm 23

Description: Psalm 23 is a sacred work in four movements, written for women's chorus (SSAA), a tenor solo and a chamber ensemble consisting of flute, oboe, trumpet, percussion, timpani, and string quartet. It is designed to be performed as a portion of a church service or in concert. The text, Psalm 23 from the Bible is sung in Chinese, and the verses of the Psalm are arranged as follows: Movement 1, Verse 1, General musical characteristics: pastoral; Movement 2, Verses 2-3, General musical characteristics: peaceful; Movement 3, Verses 4-5, General musical characteristics: agitated; Movement 4, Verse 6, General musical characteristics: majestic. The form, tonal structure and harmony of each movement are influenced by the characteristics of an original synthetic scale.
Date: December 1985
Creator: Man, Stanlas Ping Kwan
Partner: UNT Libraries