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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 Variations for Piano, Op. 27 of Anton Webern and the Quaderno musicale di Annalibera of Luigi Dallapiccola: A Lecture Recital, Together with Four Recitals of Selected Works of J.S. Bach, W.A. Mozart, F. Schubert, R. Schumann, J. Brahms, F. Chopin, A. Schoenberg, and M. Ravel

Description: The lecture recital was given on November 20, 1972. The discussion of Webern's Variations and Dallapiccola's Quaderno Musicale consisted of a analysis of the two works followed by a comparison of stylistic and performance aspects. The two works were then performed. In addition to the lecture recital four other public recitals were given. Two of these consisted entirely of solo literature for the piano. The third recital was a vocal chamber music recital and the fourth consisted of a piano concerto performed with an orchestra.
Date: May 1973
Creator: Bell, Digby
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

The Life and Works of Antonius Divitis

Description: Antonius Divitis (ca. L4715-ca. 1525) was born in Louvain, Belgium, and belonged to the generation between Josquin and Gombert. Divitis is listed in various sources as Antoine de Rycke, Le Riche, Davitz, Davtitz, and possibly Richardus Antonius, all of which mean "Anthony the Rich." His extant works include three complete masses, two parts of masses, three magnificats, five motets, two fragments (probably parts of motets) and one chanson. The purpose of this study was to collect, transcribe, and collate all existing manuscripts and prints of Divitis' compositions as well as biographical information about the composer, and to analyze the compositions for information about his techniques, as well as those of his contemporaries. Only two compositions came to the investigator in modern notation, with the remainder in various manuscripts and printed editions by such notable printers as Attaingnant, Gardane, Giunta, Petreius, Petrucci, Rhaw and Rotenbucher, from the first half of the sixteenth century. All variants in the sources were recorded and, in several instances, included in this edition wherever they seemed'to improve the musical readings.
Date: May 1970
Creator: Nugent, B. A.
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

Some Aspects of the French Organ Symphony: Culminating in the Symphonie Passion of Marcel Dupré: Together with Three Recitals of Selected Works of D. Buxtehude, J.S. Bach, N. Dello-Joio, P. Hindemith, S. Karg-Elert, J. Langlais, W. Latham, F. Liszt, N. Lockwood, F. Martin, D. Pinkham, L. Sowerby, and L. Vierne

Description: The lecture recital was given July 10, 1973. The Symphonie-Passion by Marcel Dupre was performed following a lecture on various factors that influenced the development of the organ symphony in France. In addition to the lecture recital, three other public recitals were performed, including solo compositions for the organ and three chamber works for organ and instruments. The first solo recital, including works of J. S. Bach, P. Hindemith, L. Sowerby, and L. Vierne, was performed on June 4, 1969. On April 17, 1970 the second solo recital was performed. Compositions by J. S. Bach, D. Buxtehude, M. Duprd, N. Dello Joio, S. Karg--Elert, and J. Langlais were included in the program. On January 25, 1971, a program of organ chamber works by N. Lockwood, D. Pinkham, and F. Martin, as well as solo works by F. Lizst, W. Latham, and Marcel Duprl, was performed. The four programs were recorded on magnetic tape and are filed with the written version of the lecture as a part of the dissertation.
Date: August 1973
Creator: Kean, Patricia June (Patricia June Forman), 1933-
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

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

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

The Development of Woodwind Fingering Systems: A Lecture Recital, Together with Three Recitals of Selected Solo and Ensemble Works for Bassoon

Description: The lecture-recital, The Development of Woodwind Fingering Systems, traces the evolution of devices for controlling the pitch produced by woodwind instruments from prehistoric times to the present. The addition of keys, and the evolution of collections of individual keys into coordinated systems is particularly stressed, as are the various physical, physiological, and cultural forces which determined the directions of development of these systems. The similarities between the fingerings of various woodwind instruments are explained, a system of numbers is introduced in order to clarify these similarities, and a projection of some possibilities for future development of woodwind fingering systems is offered.
Date: August 1971
Creator: Voorhees, Jerry Lee
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

Chopin's Mazurka: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, F. Busoni, D. Scarlatti, W.A. Mozart, L.V. Beethoven, F. Schubert, F. Chopin, M. Ravel and K. Szymanowski

Description: This dissertation consists of four programs: one lecture- recital, two recitals for piano solo, and one (the Schubert program) in combination with other instruments. The repertoire of the complete series of concerts was chosen with the intention of demonstrating the ability of the performer to project music of various types and composed in different periods.
Date: August 1969
Creator: Drath, Jan
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

Three Recitals of Music by German and Danish Composers, J.S. Bach, and Contemporary North American Composers, and a Lecture Recital on the Registration of Orchestral Textures in Organ Music

Description: Four contrasting recitals were presented to fulfill the requirements for the degree Doctor of Musical Arts. The first recital contained music of miscellaneous composers. Two Preludes and Fugues by the North German Baroque composers Vincent Libeck and Dietrich Buxtehude were separated by Samuel Scheidt's Variations on the Netherlands folk song "Ach du feiner Reiter". The Brahms Chorale Prelude "0 wie selig seid ihr doch, ihr Frommen" and the Louis Vierne "Intermezzo" from the Third Symphony represented Romantic-style composition. The major work of the program was the Carl Nielsen Commotio, a large work in orchestral style. The second recital consisted completely of music by J. S. Bach. Four works of contrasting styles were presented: Concerto, Opus 3, No. 8, composed by Antonio Vivaldi and transcribed by Bach, Partita on Sie gegrisset, Jesu gtig, Sonata IV, and Fantasy and Fugue in G Minor. The third recital was the lecture recital: Registration of Orchestral Textures in Organ Music. This lecture was an attempt to deal with the contemporary problem in performance practice of registration of Romantic organ music. The trends in organ building in the twentieth century have ranged from a deeper exploration of the possibilities of the Romantic organ to the reevaluation of and rededication to principles of organ building popular in the seventeenth and eighteenth centuries.
Date: August 1969
Creator: Haller, William P. (William Paul)
Partner: UNT Libraries

The Elements of Jazz Harmony and Analysis

Description: This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
Date: August 1986
Creator: Mahoney, J. Jeffrey
Partner: UNT Libraries

A Study Of Lu-Pitch Name Signification: A Translation with Commentary

Description: The purpose of this thesis is to provide translation of documents on lu from two primary sources for a study of the theory of ,lu, with the main focus on the interpretation and the signification attached to each of the twelve lu-pitch names. To establish the background information of the lu-10 system, an explanation of its acoustical properties is first presented. Based on the most important and widely used tonal system in ancient China -- the san-fen-sun-i system, the illustration is provided for the process of tone generation. Methods proposed by the main theorists who engaged in the discussion of the system of lu are presented. The introduction of the concept of yin and yang in reference to the twelve lu and the signification of the lu-lu system in relation to the human and natural world will also be discussed. The main body of this study is devoted to the translation of written references on the meaning of the twelve lu. The first part is the translation of the selected passages from The Anthology of the Historical Document of Ancient Chinese Music. edited by Tsai-Ping Liang; the second part is the translation of a modern exegesis from an article written by Deh-I Liu. This translation offers a perspective to understand the concept of l-pitch names from the ancient points of view in relation to philosophy, education, religion, and science.
Date: December 1986
Creator: Tung, Anne An-Yi Lin
Partner: UNT Libraries

An Exploratory Study of Laryngeal Movements During Performance on Alto Saxophone

Description: The purpose of this study was to investigate laryngeal movements in selected performance situations on alto saxophone. The specific research problems were to describe glottal activity in three selected musicians as they performed musical tasks with (1) various pitch ranges and registers, (2) fortissimo and pianissimo dynamic levels, (3) crescendo and decrescendo, (4) long tones with vibrato, and (5) legato and staccato styles of articulation. A fiberoptic laryngoscope was employed to gather the visual images, which were recorded on a sound synchronized video tape. A rating system was devised to provide graphic representation of the data. Results of the data indicated that the glottis was used as an airflow constrictor in certain performance situations, especially in pianissimo performance. Other conclusions were drawn, and suggestions for further research were discussed.
Date: December 1984
Creator: Peters, Jeffrey T. (Jeffrey Thomas)
Partner: UNT Libraries

Evolution of the Role of the Solo Trombone in the Nineteenth and Twentieth Centuries: A Lecture Recital Together with Three Recitals of Selected Works of Frescobaldi, White, Druckman, Jones, Blaecher, Ott, and Others

Description: The evolution of the role of the trombone as a solo instrument in the nineteenth and twentieth centuries can be traced most effectively through four schools of playing, with the music of today's avant-garde being a logical historical culmination of these four schools. It will be demons t rated that the avant-garde's use of the solo trombone has merely continued the evolutionary process started in the early nineteenth century. The contribution of the early nineteenth-century virtuosi was the establishment of the idea that the trombone could compete on its own terms with other instruments as a solo instrument. In addition to expanding the technical capabilities, they also left a basic solo repertoire. With the death of the virtuosi the trombone as a solo instrument went into a decline. For the remainder of the nineteenth century and well into the twentieth century the Paris Conservatoire was influential. Standards of solo performance were brought to new heights by excellent study material and contest solos. The next important step came from the late nineteenth-century American band virtuosi. Their influence helped the public to accept the idea of the trombone as a solo instrument. The American jazz trombonists of the 1930's and 1940's also further widened the technical capabilities of the trombone and also further encouraged acceptance of the Instrument in its solo capacity. However, their most important contribution was in new tonal colors. The music of the avant-garde takes all these previous historical achievements and makes use of them in its own unique way.
Date: May 1974
Creator: Hinterbichler, Karl George
Partner: UNT Libraries

Stellar Quintet: A Suite for Two Violins, Viola, Violoncello, and Harpsichord

Description: Stellar Ouintet is a composition in five movements (Prologue, Allegro, "...Of Stars", Rondo, Epilogue) for two violins, viola, violoncello, and harpsichord. It makes extensive use of constellations , a term used in this work to denote arrangements of pitches in spatial notation. This method of notation is derived from actual astronomical constellations. The score makes use of both real and freely constructed constellations which are rotated around their own central axis. The score is 90 pages long with a 28 page analysis preceding the score. The work has a performance time of approximately 18-20 minutes
Date: August 1988
Creator: Frank, Robert J., 1961-
Partner: UNT Libraries

Béla Bartók, Out of Doors: A Lecture Recital, Together with Three Recitals of Selected Works of L.V. Beethoven, F. Chopin, J. Brahms, R. Schumann, G. Rochberg, S. Prokofieff, M. Ravel and Others

Description: The lecture recital was given January 31, 1971. A discussion of Bartok's Out of Doors, a suite consisting of five movements entitled "With Drums and Pipes," "Barcarolla," "Musettes," "The Night's Music," and "The Chase" included biographical material, general analysis of Bartok's musical style, and specific analysis of the suite itself. The suite was then performed by memory. In addition to the lecture recital three other public recitals were performed. Two of these consisted entirely of solo literature for the piano, and the other was a vocal chamber music recital. The first solo recital was on June 7, 1970, and included works of Alfredo Casella, Beethoven, Chopin, Brahms, and Bartok. Part of the preparation included the writing of program notes of a historical and analytical nature.The other solo program, on July 5, 1971, consisted entirely of twentieth-century works by George Rochberg, Sergei Prokofieff, and Maurice Ravel. The chamber music recital was performed with a visiting soprano, Jane Paul, on February 28, 1971. Emphasis was given to German Lieder by Schumann, Joseph Marx, and Alban Berg, but Spanish songs of the Renaissance, by Juan del Encina and Fuenllana, as well as a modern English song cycle by Peter Warlock were also programmed.
Date: August 1971
Creator: Kincaid, Desmond, 1931-
Partner: UNT Libraries