8 Matching Results

Search Results

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

Contemporary Swedish Music for Solo Trumpet and Trumpet in Mixed Chamber Ensembles with a Performance Analysis of Selected Works of Bo Nilsson, Folke Rabe, and Tommy Zwedberg

Description: This study discusses how cultural and social aspects of contemporary Swedish society impact the musical arts. It contains biographical information on representative Swedish composers, and analyzes technical and structural elements of their compositional styles. Finally, it recommends performance practice considerations regarding technical and interpretive details in Tommy Zwedberg's Face the Music for trumpet and prepared audio tape, Folke Habe's Shazam for unaccompanied trumpet, and Bo Nilsson's Infrastruktur for brass quintet.
Date: August 1991
Creator: Engstrom, Larry M. (Larry Milton)
Partner: UNT Libraries

Evolution, Symmetrization, and Synthesis : The Piano Sonatas of Alberto Ginastera

Description: When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982). The second means of evolution from sonata to sonata is through a process of symmetrization. Along with constructions using symmetrical scales, material in each of the three sonatas is subjected to various symmetrical procedures which correspond musically to basic geometric symmetry types or operations (bilateral, rotational, and translatory, for instance). The decreasing number of movements evidences a negative dilatation of material, moving from four movements in the first sonata to three in the second, to one in the third. In each case, corresponding material from the previous sonata is integrated into the following sonata. Both independently and as a group the three piano sonatas exhibit "invariance under a transformation."
Date: August 1991
Creator: Campbell, Grace M.
Partner: UNT Libraries

The Moravian Church and Its Trombone Choir in America, a Lecture Recital, Together with Three Recitals of Selected Works by W. Presser, R. Monaco, L. Bassett, P. Bonneau, E. Bozza, R. Dillon and Others

Description: The purpose of the lecture was to investigate the historical and musical heritage of the Moravian Church, with a particular interest in the works and players of the American Moravian Trombone Choir. The historical overview of people, customs, and practices is traced from its beginnings with the Unitas Fratrum in Bohemia through the Northern Germany settlement of Herrenhut and the establishment of the American Moravian colony at Bethlehem, Pennsylvania. The musical life of the church is represented by a discussion of the early hymns of the founding fathers in Bohemia and the subsequent instrumental music of the Moravian trombone choir in America. The trombone choir played chorales that were used to call the congregation to order, announce important visitors to the town, and provide music at special occasions. Anthems were played by trombones (when players were available) in regular church services, or outside when it was necessary to double voice parts. Concerted music was played in the Bethlehem Collegium Musicum. Biographies of the players of the 18th and 19th century trombone choirs provide information attesting to the proficiency and dedication of these musicians. A list of players who contributed to the trombone choir movement since the 19th century is included, as well as information about the popularity and function of the Moravian Trombone Choir today.
Date: August 1984
Creator: Branstine, Wesley R.
Partner: UNT Libraries

The Organ Works of Ottorino Respighi Together with Three Recitals of Selected Works of J. S. Bach, W. Bolcom, J. Guillou, J. Langlais, F. Liszt, C. Tournemire and L. Vierne

Description: This dissertation deals with Respighi's output for the organ which consists of the Three Preludes for organ solo, a Suite in G for strings and organ, two transcriptions (the Vitali Ciaccona, and a Suit by Bach), both for violin and organ, and various organ parts in the symphonic poems, operas, and orchestral works. If Respighi was not an innovator, he was at least creative in his use of the organ in his orchestral works. The organ was used primarily for color by adding depth, body, and novelty to the ever-growing orchestra. Respighi paid great attention to the smallest detail in his orchestrations, which were varied, delicate, and precise. Why did this interest in color and sonority not result in similar treatment of the organ in his music? The answer is suggested already in the description of the late romantic/orchestral organ. Its stops had lost their individuality, and they blended together in such a way that no particular color was distinguished. The though is not that Respighi's music, or the music of any other composer, caused the decline, but rather that the direction of organ-building in its search for modernity, machinery, and the industrial age, lost its identity, its characteristics personality and color, and lost in fact the very thing it was trying to achieve-- its autonomy.
Date: August 1979
Creator: Ferré, Susan
Partner: UNT Libraries

A Performance Edition of Joseph Fiala's Concertante in B-Flat for Clarinet, Taille (English Horn) and Orchestra, a Lecture Recital, Together with Three Recitals of Selected Works of W.A. Mozart, C. Debussy, D. Milhaud, J. Brahms, P. Hindemith, and Others

Description: Joseph Fiala (1754-1816) was a composer and performer of the classical period. His many compositions include manuscripts of a concerto for clarinet, taille, and orchestra in the Fürstlich Thurn und Taxis Hofbibliothek in Regensburg, West Germany and the Library of Congress in Washington, D.C. , U.S.A. This paper identifies the instrument called "taille" as the English horn and discusses the work in areas of form, harmony, rhythm, orchestration, and use of solo instruments. Comparison with contemporary works shows the piece is typical of the eighteenth-century symphonie concertante and, together with the composer's manuscript, provides a basis for editing of the solo parts.
Date: August 1983
Creator: Widder, David R.
Partner: UNT Libraries

The Piano Sonatas of Rodolfo Halffter: Transformation or New Techniques?

Description: The Piano Sonatas of Rodolfo Halffter (b. 1900, Madrid, Spain) represent an important body of literature not widely known nor understood for their historical importance and Spanish heritage. The entire development of Halffter's compositional style, which embraces three periods of composition, may be traced through these sonatas. The modes of composition may be seen not to be separate and distinct but as having inter—relationships which therefore affect the outcome of Halffter's final dodecaphonic technique. The culmination of his serial method is found in the Tercera Sonata, op. 30. At first glance, this work appears to be a radical departure from the former styles. However, a more in-depth study reveals this sonata to be the logical outgrowth of earlier compositional techniques, thereby blending diverse, eclectic elements into a unique and homogenous application, all Halffter's own. Forced to flee his native country in 1939, Halffter became the first composer in Mexico to use twelve-tone techniques. Together with Carlos Chavez, he exerted great influence on the present generation's group of Mexican composers. Halffter today remains a crucial link in the continuation of the Spanish tradition as exemplified by his former mentor, Manuel de Falla. A brief explanation of Falla s theory of resonance including sketches in Falla's handwriting as well as portions of the unpublished analysis of Halffter's Tercera Sonata are presented, perhaps for the first time. This study reveals how Halffter manipulates many Spanish elements which are found in the ancient cante iondo and the string tunings of the guitar in addition to the use of acciacaturas and the internal rhythm of Domenico Scarlatti into a personalized idiom which remains apparent throughout all his compositional styles. An analysis of Halffter s Tercera Sonata shows that the final period is characterized by a unique blending of Falla's "apparent poly-tonality" with the twelve-tone system ...
Date: August 1985
Creator: Harper, Nancy Lee
Partner: UNT Libraries

A Study of Idiomatic Piano Compositions During the Cultural Revolution in the People's Republic of China

Description: This study demonstrated that the piano, a typical Western instrument, became the Chinese composer's tool for expressing the sound ideals and tone qualities that are intrinsic to Chinese music. A new musical idiom was created in these piano compositions, an idiom that combined Western compositional techniques and traditionally-based Chinese ideals.
Date: August 1991
Creator: Fan-Long, Grace (Chun Grace)
Partner: UNT Libraries