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From a Dark Millennium Comes the Music of Amber: A Comparative Study of Two Works by Joseph Schwantner

Description: The two works of Joseph Schwantner which are the focus of this study, are quite unique for this composer. These two pieces represent the only instance in which Schwantner used the same music for two different compositions. From a Dark Millennium, and Sanctuary from the Music of Amber, are identical in musical material, form and length. While From a Dark Millennium was written for a large wind ensemble, Sanctuary was scored for a sextet of flute, clarinet/bass clarinet, violin, cello, piano, and percussion. The comparative analysis of these pieces reveal the essence of the music, as well as explores the scoring of each version. Both the melodic and harmonic material in this music is based almost entirely on an octatonic scale of alternating whole and half steps. Very little musical material is used in these works, however the approach toward expanding this material is exceptionally creative. The music shifts abruptly from sections that are sparse and soloistic, to scoring that is very dense. While the piano is utilized as the central timbre in both versions, the wind ensemble presents a much heavier and more percussive sound throughout. The chamber version, due to its size and instrumentation, is more ethereal, and features the performers in a soloistic environment. In examining both of these works, many of the distinctive traits found in the music of Joseph Schwantner are exhibited. The differences between these two versions help to illustrate his unique approach to composition and orchestration. The two works have also had a significant impact in their respective performance media as well. From a Dark Millennium has become an important part of the repertoire for wind ensembles; and Music of Amber, which won the 1981 Kennedy Center Friedheim Award for excellence in chamber composition, is one of Schwantner's most performed chamber pieces.
Date: August 2000
Creator: Popejoy, James
Partner: UNT Libraries

Roy Harris' American Symphony - 1938: A Perspective on Its Historical Significance and Autogenetic Elements With a Performance of a Reconstructed Modern Wind Ensemble Edition

Description: American composer Roy Harris began writing a symphony for the Tommy Dorsey band in 1938, but the piece was never completed. This dissertation project chronicles the events surrounding the interesting collaboration between the composer and the bandleader, including problems incurred during the rehearsal process, the eventual abandonment of the project, and the discovery of the little-known band work. The paper includes information on the composer's life and works, an in-depth discussion of the compositional technique that Harris called “autogenesis,” and a detailed analysis of the two surviving movements of the band piece. The piece is also discussed comparatively with other significant works in Harris' symphonic genre, most notably his Folksong Symphony, also known as his Fourth Symphony. A significant portion of the research and preparation for the project was spent reconstructing a modern wind ensemble edition of the two surviving movements. A complete score of the reconstructed edition is included as part of this project.
Date: May 2001
Creator: Lamb, Brian
Partner: UNT Libraries

An Interpretive Approach to Two Wind Partitas of Franz Vincent Krommer: Partita in F, Op. 57 (1808) and Partita in E-flat, Op. 79 (1810), A Lecture Recital : Together with Three Recitals of Selected Works of Stravinsky, Hanson, Martin Mailman, Holst and Walton

Description: An interpretive approach to performing two works by Franz Krommer for wind ensemble. Including a short history of Harmoniemusik, with origins, development, and chronology of the instruments and repertoire, the roles of "better-known" composers of Harmoniemusik, and its importance in both general music history and history of the wind band. An account of known biographical detail concerning Franz Krommer, his life, his musical involvement and career in Europe, and his place in music history. An overview of his compositions for wind groups other than the Harmoniemusik, including his symphonic music and concertos. Detailed analyses of the two octet-partitas, Partita in F, Op. 57 and Partita in E-flat, Op. 79, with discussion of thematic, harmonic, melodic, articulation, and formal characteristics illustrated through score examples. Examination of issues for a conductor to consider when approaching a performance of these works such as instrumentation (modern vs. period instruments, selecting 16-foot instrument), taking (or not taking) repeats with respect to form, interpreting articulations, determining metronomic tempos, ensemble balance, and style based on wind music of the Classical period. Also, how this music can (and why it should) be used by wind conductors as both a teaching supplement and a compositional model for pieces from the Classical period. Conclusion includes a call for further research on Krommer and his works.
Date: August 1995
Creator: Mailman, Matthew
Partner: UNT Libraries

Olympic Dances by John Harbison, a Lecture Recital together with Three Recitals of Selected Works of D. Holsinger, P. Granger, K. Husa, B. Rands, R. Vaughan Williams, and Others

Description: John Harbison's Olympic Dances was composed in 1996 and premiered in February 1997. The work was written as a piano score before it was orchestrated for a wind ensemble of 25 winds and two percussionists.The first section of the paper focuses on the various influences that have affected Harbison's compositional style. The composer's educational background includes several prominent teachers whose instruction had great impressions. Special emphasis is placed on those characteristics of Harbison's style that are most prominent in the work with which this paper is concerned, Olympic Dances. Olympic Dances was commissioned by the College Band Directors National Association and premiered at the CBDNA Twenty-ninth National Conference in Athens, Georgia, in a collaborative performance of the University of North Texas Wind Symphony and Pilobolus Dance Theatre. The second part of the paper presents an historical overview of CBDNA commissioning projects along with a summary of the genesis of the commissioning of Olympic Dances. The primary focus of the study appears in the third section of the paper. An analysis of the four movements of Olympic Dances is presented with attention to the objective elements of harmonic and melodic structures along with a focus on orchestration and scoring. This section considers the composer's thoughts on aesthetic concerns, suggested through his written program notes, and elucidated by way of an interview with the author. Special performance concerns related to rehearsal and conducting conclude this chapter. The paper also includes a transcription of the author's interview with John Harbison, a bibliography and a select discography of recent recordings of his works that are currently available.
Date: December 1997
Creator: Kohlenberg, Kenneth Howard
Partner: UNT Libraries

Orlando di Lasso's Missa Ad Imitationem Moduli Doulce Memoire: An Examination of the Mass and its Model

Description: Orlando di Lasso is regarded as one of the great polyphonic masters of the Renaissance. An international composer of both sacred and secular music, his sacred works have always held an important place in the choral repertory. Especially significant are Lasso's Parody Masses, which comprise the majority of settings in this genre. The "Missa Ad Imitatiomem Moduli Doulce Memoire" and its model, the chanson "Doulce Memoire" by Sandrin, have been selected as the subject of this lecture recital. In the course of this study, the two works have been compared and analyzed, focusing on the exact material which has been borrowed from the chanson. In addition to the borrowed material, the longer movements, especially the Gloria and the Credo, exhibit considerable free material. This will be considered in light of its relation to the parody sections. Chapter One gives an introduction to the subject of musical parody with definitions of parody by several contemporary authors. In addition, several writers of the sixteenth century, including Vicentino, Zarlino, Ponzio, and Cerone are mentioned. Chapter Two relates biographical information on Lasso and gives a brief summary of his compositions. Attention is given to the number and type of Parody Masses by Lasso. Chapter Three discusses Sandrin and the chanson model, "Doulce Memoire." The original French text, an English translation, and form of the chanson are given. Chapter Four gives a detailed analysis of the "Missa Doulce Memoire" illustrating the use of borrowed material on specific sections of the Mass. The free sections of the Mass are discussed and compared with the parody sections. Other compositional devices, such as text painting, varied textures, and coloration are also mentioned. In Chapter Five, the "Missa Doulce Memoire" is compared to Lasso's other parody works and conclusions will be drawn concerning the composer's choice of material and ...
Date: August 1986
Creator: Hanson, Jan
Partner: UNT Libraries