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A Critical Appraisal of English Madrigals Currently Available in American Publication

Description: The findings of this study should prove to be a boon to all those who enjoy performing madrigals, for through the cooperation of the leading music publishing houses in this country, a complete authoritative list of fine madrigals has been gathered. Many of these will be new both to the performers and the public.
Date: August 1942
Creator: Friesen, William C. (William Cornelius)
Partner: UNT Libraries

“In Old Mexico:” Suite for Solo Piano

Description: There is often difficulty in determining the most desirable medium to be used in the composition of music. After careful consideration, the writer chose the medium of piano to present the following musical composition. In the initial investigations, it appeared that the vocal idiom might provide a more suitable choice. However, piano teaching rather than work in the vocal field will probably consume a greater part of the writer's time in the future. The writing of a piano composition, then, appeared to be a justifiable decision.
Date: May 1947
Creator: Robinson, Frances O.
Partner: UNT Libraries

The Melodic Use of the Augmented Second in the Eighteenth Century

Description: When a particular phase of music theory is omitted from the contents of a treatise or textbook on that subject, the omission can usually be ascribed to one of two causes. Either the omitted phase is of little importance or it is not used in the music of the period on which the treatise or textbook is based. It is the purpose of this research study to discuss a particular phase of music theory that has been omitted or avoided by numerous counterpoint and theory textbook authors. The material in the contents of this work is based on a discussion of the melodic use of the augmented second in the music of the eighteenth century.
Date: January 1952
Creator: Shipp, Clifford M. (Clifford Marion)
Partner: UNT Libraries

A Comparative Study of the Harmonic Equipment and Formal Features in the String Quartets by Claude Debussy and Maurice Ravel

Description: This thesis proposes to determine the construction of the two string quartets and to reveal through the study of the quartets the similarities and contrasts of the creative musical characteristics of Debussy and Ravel.
Date: August 1952
Creator: Jenkins, Robert E. (Robert Eugene),1929-
Partner: UNT Libraries

Quintet for Woodwinds

Description: The purpose of writing the quintet for Woodwinds is to produce composition for woodwind ensemble containing elements of significant musical form. Much of the quintet music. by composers such as, Reicha and Taffanel is characterized by pure virtuosity of style and lack of significant musical form. The Quintet for Woodwinds utilizes the conventional instrumentation for a woodwind quintet, that is, flute, oboe, clarinet (Bb), Horn in F,, and bassoon. In the Third Movement (Playfully) the piccolo is to be used as an alternate instrument with the flute.
Date: January 1956
Creator: Hutchison, Warner, 1930-
Partner: UNT Libraries

Transcriptions and Editions for Harp by Carlos Salzedo

Description: Anyone concerned with the harp in this century knows of the genius of Carlos Salzedo. His pedagogical, compositional and professional activities have had a tremendous impact on the harp world. With this in mind, the present study considers his transcriptions for harp from other works and his editings of other composers' harp compositions. It is the purpose of this study to find in what ways his work in this area has been helpful to harpists.
Date: January 1956
Creator: Thornberry, Johne Buddington
Partner: UNT Libraries

Influences Seen in Prokofiev's Piano Style

Description: The influence of existing musical trends is evident in almost every composer. Prokofiev entered the musical scene in Russia when Scriabin was the recognized leader in innovation. To understand fully the rapid popularity of Prokofiev one must be aware of the musical forces of his time, the circumstances leading up to them and their influence on Prokofiev. In the latter half of the nineteenth century there began a movement toward nationalism in music. Among the most important of these nationalistic countries were Bohemia and Russia. Composers deliberately drew their inspiration from the musical resources of their native country. From all that is known a native Russian music did not exist before the nineteenth century. The music enjoyed by the upper class and royalty had to be imported. In the eighteenth century this included Italian opera and in the beginning of the nineteenth century, French opera. Pianists such as Field, Mayer and von Henselt were popular as both teachers and performers.
Date: June 1970
Creator: Lewis, Ronald Edwin
Partner: UNT Libraries

An Analysis of Growth in Karel Husa's Music for Prague, 1968

Description: The problem is to relate four parameters, thematic development, chord tension, tonality, and rhythm to musical Growth in Karel Husa's Music for Prague 1968. The analytical technique consists of determining a typology and relating that to Growth and is applied in small dimensions to the "Introduction" and in large dimensions to the whole composition. Movement in the composition is goal oriented, and each parameter contributes in different ways, one providing contrast, another continuity, and another variety. Shapes are delineated by cadences characterized by a decrease followed by an increase in Movement. Growth is characterized by Shapes in which Movement starts at a low level, moves to a climax three quarters through, and relaxes for the end of the Shape.
Date: May 1976
Creator: Davidson, Richard C.
Partner: UNT Libraries

The Influence of Hindemith's Harmonic Theories on Das Marienleben, op. 27

Description: This study attempts to show the relationship of Hindemith's harmonic theories and practice in the revision of Das Marienleben, op. 27. The study is based on Hindemith's The Craft of Musical Composition, commentaries on Hindemith's application of his theories, and analyses of Das Marienleben. Chapter One concerns Hindemith's contribution as a theorist, including a synopsis of his harmonic theories, and his application of the theories in his compositions. Chapter Two concerns Das Marienleben itself, including general information about the work and its revision, and an analytical comparison of its two versions. Chapter Three concludes that Hindemith made improvements in the new version in accordance with his harmonic theories through replacing ambiguous harmony with carefully controlled fluctuation and clearly defined tonalities.
Date: August 1978
Creator: Kubitza, Jana L.
Partner: UNT Libraries

The Design of Microcomputer-Based Sound Synthesis Hardware

Description: Microcomputer-based music synthesis hardware is being developed at North Texas State University (NTSU). The work described in this paper continues this effort to develop hardware designs for inexpensive, but good quality, sound synthesizers. In order to pursue their activities, researchers in computer assisted instruction in music theory, psychoacoustics, and music composition need quality sound sources. The ultimate goal of my research is to develop good quality sound synthesis hardware which can fill these needs economically. This paper explores three topics: 1) how a computer makes music--a short nontechnical description; 2) what has been done previously--a review of the literature; and 3) what factors bear on the quality of microcomputer-based systems, including encoding of musical passages, software development, and hardware design. These topics lead to the discussion of a particular sound synthesizer which the author has designed.
Date: May 1980
Creator: Hamilton, Richard L.
Partner: UNT Libraries

Béla Bartók's "Four Dirges" for Piano, Op. 9a: A Complete Analysis

Description: The study of Bela Bartok's Four Dirges for piano (1909- 1910) is significant in that this period of 1908 to 1910 was particularly experimental and formative for Bartók, especially in tonal aspects of his compositional style. Furthermore, very little research and analysis has been done on these smaller works. This thesis contributes an analytical study of this early style and also shows its influence on larger mature works in subsequent years. A complete analysis on each dirge contains graphs of tonal structures and patterns constructed by Bartok within each composition. The concluding chapter summarizes overall characteristics of the dirges.
Date: August 1980
Creator: Terrell, John W.
Partner: UNT Libraries

Concerto for Piano, Winds, and Percussion

Description: "Concerto for Piano, Winds, and Percussion" is, as the title implies, a piece which features the solo piano in combination with an ensemble of winds and percussion. The instrumentation of the ensemble is two flutes; oboe; two Bb clarinets; Eb alto clarinet; Bb bass clarinet; bassoon; two Bb trumpets; two F horns; two trombones; baritone; tuba; and a percussion section of three players playing timpani, tambourine, xylophone, vibraphone, glockenspiel, chimes, triangle, suspended cymbal, snare drum, bass drum, two bongos, and small woodblock. The major sections of the piece are distinguished primarily by tempo. The fast-slow-fast arrangement of those sections aligns it with the traditional concerto format. The piece is in one movement and is approximately twelve and one-half minutes in duration.
Date: August 1982
Creator: Ring, Gordon L. (Gordon Lee)
Partner: UNT Libraries

Songs of Praise

Description: Songs of Praise is a setting of four passages from the Psalms for soprano and chamber orchestra. The text is taken from Psalms 96, 114, 55, and 116 of the New American Standard Version, with each psalm scored as a separate movement. The duration of the work is approximately seventeen and one-half minutes. The instrumentation includes soprano, oboe, strings, and a percussion section of four players incorporating fourteen different instruments. The musical language employed is largely tonal, consisting generally of shifting tonal emphases achieved by exploiting the pitch relationships of traditional tonality. The movements are contrasting in character, according to the text, but generally of the same style. The vocal line predominates throughout spanning two octaves and a minor third from an A below middle C to a high C above the treble clef.
Date: May 1983
Creator: Bardin, Charles Randall
Partner: UNT Libraries

A New Song

Description: A New Song is a sacred contata in four parts written for mixed chorus, soloists, narrator, congregation, and chamber ensemble consisting of organ, brass ensemble, and percussion. It is designed to be performed within the limitations of a church sanctuary. The text is taken from the New American Standard Version of the Bible. The four parts are based on prophecies found in the book of Isaiah and the fulfillment of these prophecies as found in the New Testament books of Matthew, Luke, and John. The texture and orchestration throughout the contata change according to the mood of the text. For practical performance purposes, vocal parts are based on traditional harmonic, melodic, and rhythmic patterns, leaving the more complex patterns to the instrumental parts.
Date: December 1983
Creator: Remley, Rebecca D. (Rebecca Danner)
Partner: UNT Libraries

Commotio: Carl Nielsen's Symphony for Organ: A Lecture Recital, Together with Three Recitals of Selected Works of F. Couperin, J.S. Bach, P. Hindemith, M. Duruflé, S. Raisin, D. Buxtehude, M. Reger, F. Martin, M. Weckmann, F. Tunder, V. Lübeck, C.P.E. Bach, and L. Vierne

Description: The lecture recital was given on March 25, 1984. Commotio by Carl Nielsen was performed following a lecture on that particular organ composition. The lecture included a discussion of Carl Nielsen, characteristics of his six symphonies, a detailed analysis of Commotio, and the symphonic characteristics found in Commotio. Some examples from the symphonies as well as other works were performed during the lecture to illustrate the similarities between Commotio and his orchestral works. In addition to the lecture recital, three other public recitals were performed, all of which consisted of solo compositions for the organ. The first solo recital, including works of Couperin, Bach, Hindemith, and Duruflé, was performed on October 30, 1980. On May 6, 1981, the second solo recital was performed. Compositions by Raison, Buxtehude, Bach, Reger, and Martin were included in the program. The third solo recital which included works by Weckmann, Tunder, Lübeck, C. P. E. Bach, and Vierne, was performed on April 25, 1983. The four programs were recorded on magnetic tape and are filed with the written version of the lecture material as a part of the dissertation.
Date: August 1984
Creator: Morrison, Linda Sue
Partner: UNT Libraries

Messiaen's Influence on Post-War Serialism

Description: The objective of this paper is to show how Olivier Messiaen's Mode de valeurs et d'intensites influenced the development of postwar serialism. Written at Darmstadt in 1949, Mode de valeurs is considered the first European work to organize systematically all the major musical parameters: pitch, duration, dynamics, articulation, and register. This work was a natural step in Messiaen's growth toward complete or nearly complete systemization of musical parameters, which he had begun working towards in earlier works such as Vingt regards sur 1'Enfant-Jesus (1944), Turangalila-symphonie (1946-8), and Cantyodjaya (1949), and which he continued to experiment with in later works such as Ile de Feu II (1951) and Livre d'orgue (1951). The degree of systematic control that Messiaen successfully applied to each of the musical parameters influenced two of the most prominent post-war serial composers, Pierre Boulez and Karlheinz Stockhausen, to further develop systematic procedures in their own works. This paper demonstrates the degree to which both Boulez' Structures Ia (1951) and Stockhausen's Kreuzspiel (1951) used Mode de valeurs as a model for the systematic organization of musical parameters.
Date: August 1984
Creator: Muncy, Thomas R.
Partner: UNT Libraries

Symphonic Portrait: The Patriarch

Description: This is an analysis for Symphonic Portrait: The Patriarch, which is the first in a trilogy of works each depicting one of the Deities in the Holy Trinity. It is scored for symphonic band consisting of piccolo, two flutes, two oboes, E^b clarinet, three B^b clarinets, alto clarinet, bass clarinet, contrabass clarinet, two alto saxes, tenor sax, baritone sax, two bassoons, three B^b cornets, two B^b trumpets, four F horns, three trombones, euphoniums (div.), tubas (div.), string bass, timpani, eight percussionists playing bells, chimes, vibraphone, xylophone, marimba, snare drum, bass drum, three tom-toms (high, medium, low), suspended cymbal, crash cymbals, two tam-tams (large and medium), triangle, tambourine, vibra slap, steel plate, finger cymbals, bell tree, piano, harp, and organ. The music consists of two major parts; the scenario and the main body. Each part lasts six minutes, giving the work a total duration time of about twelve minutes.
Date: August 1984
Creator: Brusick, William R. (William Robert)
Partner: UNT Libraries