Daily student newspaper from North Texas State University in Denton, Texas that includes local, state, and campus news along with advertising. Formerly The Campus Chat.

The lecture recital was given on April 18, 1974. Some Mendelssohn organ works in manuscript were performed during the lecture to illustrate Mendelssohn's indebtedness to baroque models and his evolution as an organ composer.

Semi-weekly student newspaper from North Texas State University in Denton, Texas that includes local, state, and campus news along with advertising.

Semi-weekly student newspaper from North Texas State University in Denton, Texas that includes local, state, and campus news along with advertising.

Fall/Spring performances program book from the 1967-1968 school year at the North Texas State University School of Music.

All of Mahler's works may be divided into four distinct chronological groups, referred to as "symphonic cycles." Motives and themes from the songs within each symphonic cycle were quoted in symphonies in the same cycle. This system of self reference was unique to Mahler, although earlier composers such as Schubert and Wagner set precedents for some of the techniques used by Mahler. The quotations in the early periods appeared only on the surface and did not blend well with their surroundings, but as time progressed Mahler developed the ability to combine the seemingly incompatible elements more smoothly. Mahler's early fascination with distant sounds was also a factor in his use of quotations. The appendix contains a catalog of 100 quotations.

Daily student newspaper from the North Texas State College in Denton, Texas that includes local, state, and campus news along with advertising. Formerly The Campus Chat.

Arnold Schoenberg's teaching career spanned over fifty years and included experiences in Austria, Germany, and the United States. Schoenberg's teaching assistant, Leonard Stein, transcribed Schoenberg's class lectures at UCLA from 1936 to 1944. Most of these notes resulted in publications that provide pedagogical examples of combined elements from Schoenberg's European years of teaching with his years of teaching in America. There are also class notes from Schoenberg's later lectures that have gone unexamined. These notes contain substantial examples of Schoenberg's later theories with analyses of masterworks that have never been published. Both the class notes and the subsequent publications reveal Schoenberg's comprehensive approach to understanding the presentation of the Gedanke or musical idea. In his later classes especially, Schoenberg demonstrated a method of analyzing musical compositions using illustrations of elements of the Grundgestalt or "basic shape," which contains the technical aspects of the musical parts. Through an examination of his published and unpublished manuscripts, this study will demonstrate Schoenberg's commitment to a comprehensive approach to teaching. Schoenberg's heritage of eighteenth- and nineteenth-century music theory is evident in his Harmonielehre and in his other European writings. The latter include Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre (ZKIF), and Der musikalische Gedanke und die Logik, …

In Vienna from about 1918 until the 1930s, contemporaries perceived a high point in the music-historical significance of Mahler's works, with regard to both the history of compositional style and the social history of music. The ideas and meanings that became attached to Mahler's works in this milieu are tied inextricably to the city's political and cultural life. Although the performances of Mahler's works under the auspices of Vienna's Social Democrats are sometimes construed today as mere acts of political appropriation, David Josef Bach's writings suggest that the innovative and controversial aspects of Mahler's works held social value in line with the ideal of Arbeiterbildung. Richard Specht, Arnold Schoenberg, and Theodor Adorno embraced oft-criticized features in Mahler's music, regarding the composer as a prophetic artist whose compositional style was the epitome of faithful adherence to one's inner artistic vision, regardless of its popularity. While all three critics addressed the relationship between detail and whole in Mahler's music, Adorno construed it as an act of subversion. Mahler's popularity also affected Viennese composers during this time in obvious and subtle ways. The formal structure and thematic construction of Berg's Chamber Concerto suggest a compositional approach close to what his student Adorno described …

Fall/Spring performances program book from the 1971-1972 school year at the North Texas State University School of Music.

The Sacrilege of Alan Kent is a monodrama in nine scenes for baritone soloist, orchestra, and tape. This composition may be presented as a dramatic or concert work. From the standpoint of a dramatic form, it may be considered an opera for one performer in nine brief scenes or vignettes. As a concert work, it resembles a song cycle.

The North Texas State University School of Music Newsletter includes information about the faculty, staff, alumni, and activities of the School of Music.

The North Texas State University School of Music Newsletter includes information about the faculty, staff, alumni, and activities of the School of Music, with a schedule of upcoming events.

This paper documents the history of the University of North Texas Music Library from the perspective of librarian Donna Arnold. It covers the stories and contributions of the librarians and staff who have served the UNT music library since its inception in 1940 until present-day.

Interview with David A. Webb, librarian and former Director of Libraries at the University of North Texas when it was North Texas State University. Webb discusses his background, teaching experience, collections at the library, budget, and developments within the field of Library and Information Science.

Klangfarbenmelodien is a term first mentioned by Schoenberg in his Harmonielehre (1911) in a discussion suggesting the idea of tone colors as a structural element equal to other musical components such as harmony, rhythm, pitch, and dynamics. The intent of this study is to investigate significant influences that led to Webern's adoption and application of Klangrfarben techniques in the Symphony, op. 21, first movement. Webern's expression of Klangfarbenmelodien was his method of dispersing melodic lines and the manipulation of a wide gamut of varying tone colors. A brief biography is included in the paper and Webern's professional career as a conductor is viewed and considered as to its affect on the creation of the Symphony with emphasis on his relationship with Schoenberg and the Society for Private Musical Performance. The genesis of the Symphony and its early performance history is examined, as well as the structure of op. 21 with specific examples of Klangrfarbenmelodien. These techniques include the presentation of melodic lines in terms of octave register, timbre, dynamics, articulation, durations, rhythm, and instrumentation.

This paper is a collection of corrections and related thoughts for Bevil's thesis The Welsh Crwth, Its History and Its Genealogy.

Daily student newspaper from North Texas State University in Denton, Texas that includes local, state, and campus news along with advertising. Formerly The Campus Chat.

Weekly student newspaper from North Texas State University in Denton, Texas that includes local, state, and campus news along with advertising. Formerly The Campus Chat.

Daily student newspaper from North Texas State University in Denton, Texas that includes local, state, and campus news along with advertising. Formerly The Campus Chat.

Daily student newspaper from the North Texas State College in Denton, Texas that includes local, state, and campus news along with advertising. Formerly The Campus Chat.

This promotional catalog provides a brief biography of the composer Robert Xavier Rodriguez and descriptions of several of his orchestral, operatic, choral, and other works that are available through his publisher as either sheet music or recordings.

Although Schoenberg viewed his twelve-tone method as an extension of the Germanic musical evolution from Bach to Brahms, one group of writers in America identified twelve-tone antecedents with Medieval and Renaissance polyphony. Such a correlation of Schoenberg's practice with this textural orientation of the past was part of a larger movement (what I term "neopolyphony") recognizing twentieth-century musical developments as the genesis of a polyphonic epoch reviving both the technical and aesthetic concerns of the former era. With Schoenberg's practice applied to this analogical context, other writers (Hill, Krenek, Perle) advanced certain modal theories based in various degrees on the internal organization and functional role of the Church modes.

Semi-weekly student newspaper from North Texas State University in Denton, Texas that includes local, state, and campus news along with advertising.