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Doctoral Recital: 2010-05-15 - Sunim Kwag, organ
Recital presented at the UNT College of Music Winspear Performance Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Date:
May 15, 2010
Creator:
Kwag, Sunim
Object Type:
Sound
System:
The UNT Digital Library
Doctoral Recital: 2009-05-09 - So-Jung Park, organ
Recital presented at the UNT Winspear Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Date:
May 9, 2009
Creator:
Park, So-Jung
Object Type:
Sound
System:
The UNT Digital Library
Doctoral Recital - 2015-05-01- Julianna Emanski, soprano
Recital presented at the UNT College of Music Voertman Hall.
Date:
May 1, 2015
Creator:
Emanski, Julianna
Object Type:
Sound
System:
The UNT Digital Library
Doctoral Recital: 2015-05-01 – Julianna Emanski, soprano
Recital presented at the UNT College of Music Concert Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Date:
May 1, 2015
Creator:
Emanski, Julianna
Object Type:
Video
System:
The UNT Digital Library
Doctoral Lecture Recital: 2015-05-01 – Andreas Stoltzfus, baroque trumpet
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Date:
May 1, 2015
Creator:
Stoltzfus, Andreas
Object Type:
Sound
System:
The UNT Digital Library
Doctoral Lecture Recital: 2014-05-12 – David J. Begnoche, trombone
Recital presented at the UNT College of Music Recital Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.
Date:
May 12, 2014
Creator:
Begnoche, David J.
Object Type:
Sound
System:
The UNT Digital Library
Gregorian Chant in the Organ Symphonies of Widor and Dupré, a Lecture Recital, Together With Three Recitals of Selected Works of J. S. Bach, S. Barber, A. Bruckner, F. Couperin, M. Dupré, M. Duruflé, C. Franck, W. A. Mozart, O. Messiaen, J. Pachelbel, M. Reger, and Others
The lecture recital was given on November 20, 1979. The final movement of Widor's Symphonie Gothique, opus 70, the first movement of Widor's Symphonie Romane, opus 73, and the first movement of Dupré's Symphonie-Passion, opus 23 were performed following a lecture on Gregorian Chant in the organ symphonies of Widor and Dupré. The lecture included a brief historical discussion of the decline of organ literature following the French Classical School, the development of the Modern French Organ School beginning with the establishment of the organ department at the Paris Conservatory, the revival of plainsong and the establishment of the School of Solesmes, and the influence of César Franck and the organ symphony. The main body of the lecture included biographical sketches of Widor and Dupré, a discussion of the general characteristics of their organ symphonies, with the emphasis upon those movements specifically employing the use of Gregorian chant.
Date:
May 1979
Creator:
Thomas, Paul Lindsley
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Overview and Introduction to the Organ Music of Alsatian-american Composer René Louis Becker (1882-1956)
This dissertation provides the first biographical overview and annotated catalog of the organ music of Alsatian-American organist and composer René Louis Becker. Born and educated in Strasbourg, Alsace, Becker emigrated to the United States in 1904 and remained active as a composer and church musician for the next 50 years. in addition to providing sources for his biographical information, documentation of the specific organs with which Becker was professionally associated is included for the purpose of evaluating possible dates of composition of his undated organ works as well as for consideration of organ registrations when performing his works. Primary sources include newspaper clippings, personal correspondence, family scrapbooks, organ archives, and both published and unpublished manuscripts. Study of these manuscripts, including rediscovery of more than fifty works of Becker’s which were previously published in the early 1900s, present an opportunity to introduce a large new body of sophisticated repertoire from a distinguished and accomplished musician to the field of organ music. Becker composed more than 180 individual works for the organ, over half of which remain in manuscript and which were completely unknown since even before his death in 1956. Becker’s complete known oeuvre for organ includes 34 marches, 15 toccatas, …
Date:
May 2012
Creator:
Spritzer, Damin
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
The North Texan, Volume 16, Number 3, May 1965
The North Texan includes articles and notes about North Texas State University students, faculty, and alumni activities.
Date:
May 1965
Creator:
North Texas State University
Object Type:
Journal/Magazine/Newsletter
System:
The UNT Digital Library
The Earliest Trumpet Method Book Extant: A Lecture Recital; Together with Three Other Recitals
This dissertation consists of four programs: one lecture recital, two recitals for solo trumpet, and one in combination with other instruments and voices. The lecture was an exploration of the contents of Modo per Imparare a Sonare di Tromba, by Girolamo Fantini, published in 16358. Fantini, who was also a trumpet player, included in his volume a wide variety of music for the natural trumpet. In addition to military signals and fanfares, the book contains exercises for developing technical ability on the trumpet, a large number of dance pieces with and without accompaniment, duets for two trumpets, and sonatas for trumpet and keyboard.
Date:
May 1971
Creator:
De Jong, William Donai, 1935-
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
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
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 …
Date:
May 1974
Creator:
Hinterbichler, Karl George
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
A performance analysis of Joseph Turrin's works for solo trumpet, a lecture recital, together with three recitals of selected works by J.S. Bach, E. Bloch, H. Tomasi and others
This study addresses on facet of Joseph Turrin's compositional oeuvre: his published works for solo trumpet. Complete histories if all six trumpet compositions are chronicles. A discussion of formal organization and significant style features including harmonic language, melodic style and rhythmic features is included. A detailed performance analysis follows. The degree of difficulty of each work is assessed through an investigation of tessitura, range, melodic contour, endurance factors, fingerings, and technical features of the accompaniment. Analysis of tempi and dynamics, articulation and phrasing, and timbral considerations provides additional points of focus to the study. Finally, the importance of Turrin's works for trumpet and his impact on trumpet literature is assessed. Idiomatic aspects of composition that make Turrin's music attractive to performers are investigated and discussed.
Date:
May 1999
Creator:
Korak, John
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
A History of Concert Waltzes for Piano (Lecture-Recital) Together with Three Recitals of Selected Works by Rachmaninov, Stravinsky, Schubert, J.S. Bach, Reger, Adams, Covino, Chopin, Schönberg, Ives, and Beethoven
The first three recitals contained solely performances of piano music. The first one consisted of an Etude-Tableau by Rachmaninov, the Capriccio by Stravinsky (the chamberensemble accompaniment arranged for second piano), and the great Sonata in A minor by Schubert. The second recital contained a Prelude and Fugue by J. S. Bach, Reger's Variations and Fugue on a Theme by Bach, a Romance by the performer, Peter Covino's Toccatina Op. 4 No. 8, and Chopin's Nocturne Op. 55 No. 2 and Scherzo in E. The third recital consisted of Schonberg's Sechs Kleine Klavierstilcke, Ives's Some South-Paw Pitching, and the Sonata Op. 106 ("Hammerklavier") by Beethoven. The fourth recital featured a lecture which surveyed the piano waltz throughout its history. Several complete examples, namely Weber's Invitation to the Dance, Chopin's Waltz in A minor, and La Valse by Ravel, and incomplete examples including a Lundler by the performer, several of Schubert's waltzes, Chopin's Waltz Op. 42, and Man Lebt Nur Einmal! by Strauss-Tausig interspersed the lecture. All four recitals, tape-recorded, and the lecture, typewritten, are filed together in the Graduate Office of the North Texas State University.
Date:
May 1978
Creator:
Adams, William Lloyd, Jr.
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Performance Issues Related to Soli by Carlos Chávez and Two Little Serious Pieces by Silvestre Revueltas, A Lecture Recital, Together with Three Recitals of Selected Works of Kennan, Stravinsky, Haydn, Hummel, Neruda, Stevens and Others
Performance issues related to Soli by Carlos Chávez and Two Little Serious Pieces by Silvestre Revueltas. Chapters one and two provide a brief biography of each composer. Chapter three is an examination of their musical style and the influence that indigenous Indian music, popular music and nationalism had on their styles. Chapter four provides an investigation of Soli by Carlos Chávez, a chamber piece written for oboe, B-flat clarinet, bassoon and B-flat trumpet. Chapter five offers an examination of Two Little Serious Pieces by Silvestre Revueltas, a wind quintet for piccolo, oboe, C trumpet, B-flat clarinet and baritone saxophone. Chapters four and five contain an analysis of these pieces with regard to melodic and harmonic material, tonality, texture, range, phrase structure and form. Performance issues, such as tempo, dynamics, articulation, rhythm and style are likewise addressed with the result being an interpretive analysis of each piece. The final chapter offers a comparative analysis of Soli and Two Little Serious Pieces relative to the topics discussed in chapters four and five.
Date:
May 2000
Creator:
Hofer, Calvin D.
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
The History of Horn Playing in Los Angeles from 1920 to 1970 : a Lecture Recital, Together With Three Recitals of Selected Works for Horn by M. Haydn, Franz, Britten, Mozart, Koetsier, Hindemith, Herzogenberg, Rossini, Stevens and others
The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonic. This study details the introduction of soundtracks, the early studio orchestras, the contract studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonic and the studios, major figures from the subsequent freelance period such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.
Date:
May 1999
Creator:
Hilliard, Howard (Howard Louis)
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
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
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
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
A Performer's Analysis of Benjamin Britten's Phaedra, Dramatic Cantata for Mezzo Soprano and Small Orchestra, op. 93: a Lecture Recital, Together with Three Recitals of Selected Works of H. Purcell, R. Schumann, R. Vaughan Williams, P. Tchaikovsky, G. Fauré, K. Löwe, G. Menotti, S. Barber and Others
A little-known chamber work by Benjamin Britten is the dramatic cantata Phaedra, op.93, for mezzo-soprano and small orchestra. Among his chamber works, the solo cantata was a musical form used only once by Britten, thus making Phaedra unique among Britten's oeuvre. Britten chose a genre that flourished in the seventeenth and eighteenth centuries the cantata - as a vehicle for the story of Phaedra. He employs clear allusions to Baroque music in Phaedra by the use of harpsichord and continuo in the recitatives, ornamentation, and word painting. The text for Britten's setting of Phaedra is a translation of Jean Racine's Phedre by the American poet Robert Lowell. From Lowell's complete play, Britten extracted Phaedra's key speeches that deal with her three confessions of incestuous love for her stepson, Hippolytus. These monologues are set in a series of recitatives and arias that make up the entirety of this chamber cantata. In order to gain complete understanding of Phaedra, this document will begin with an investigation into the historical background of Racine's Phedre and the conventions of French tragedy from which it arose. Lowell's translation method will then be explored in comparison to Racine's play. In turn, Britten's extractions from Lowell's translation …
Date:
May 1999
Creator:
Beard-Stradley, Cloyce (Cloyce May)
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
A Conductor's Guide to Lionel Daunais's Figures de danse
Lionel Daunais was an eminent and beloved 20th-century Québécois musician who contributed greatly to the performing arts in Canada. Through his work with the Trio Lyrique, Les Variétés Lyriques, and his numerous compositions, he wielded a potent sphere of influence on the Canadian musical landscape. Lionel Daunais's compositions constitute a significant oeuvre, comprising solo vocal works, song cycles, folksong arrangements, individual choral works, and multi-movement choral works. Marked by irresistible wit, the melodicism of French mélodie, and the absolute eminence of the text, Figures de danse is his most well-known multi-movement choral work. Daunais penned the earliest extant version of Figures de danse in 1947, however, the work emerged into Québec's choral scene in the mid-1970s via the establishment of the Alliance des Chorales du Québec. This set of tragicomic caricatures, which sets beautiful choral and piano writing to clever—and sometimes hilariously nonsensical—texts by Daunais himself, is accessible for performance by youth choirs, community choirs, university choirs, and professional choirs alike. Unfortunately, various factors (e.g. the separation of the choral and piano scores, local references, and score errors) often stymie its performance. The purpose of this dissertation is to ameliorate these challenges via a conductor's guide and to advocate for …
Date:
May 2020
Creator:
Murray, Brian C. (Brian Clark)
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
"Para qué recorder": Preserving the Legacy of María Grever through Selected Vocal Compositions for Study and Performance
María Grever (1885-1951) overcame racism and gender bias during a pivotal era in American music history to become the first commercially successful Mexican female composer and more specifically, a pioneer of popular music during the first half of the 20th century. Though named the "Madonna of song," her legacy is largely overshadowed by other compositional giants of the era, such as the Gershwin brothers, Cole Porter, and Irving Berlin. Grever's music is sophisticated, heartfelt, and worthy of attention. Her colorful, genuine music adds distinctiveness and variety to recital programs. Grever's songs offer a high level of musical integrity and socio-cultural value. Incorporating her compositions into a singer's vocal repertoire is an excellent way to broaden the scope of styles and languages while maintaining the highest standards of musical study. The following document considers the importance of performing and studying Grever's music by analyzing nine songs representing three compositional periods. I evaluated the songs considering pedagogical benefit, performance value, and significance to her overall oeuvre.
Date:
May 2019
Creator:
Canchola, Amy
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
The Brazilian Art Song and the Non-Brazilian Portuguese Singer: A Performance Guide to Nine Songs by Alberto Nepomuceno
Alberto Nepomuceno (1864-1920) is considered to be the father of the Brazilian art song. With a total of seventy songs, Nepomuceno revolutionized and established a new path to the Brazilian art song. His songs were innovative because they: (1) incorporated folk elements in his songs, (2) introduced Portuguese as a language acceptable in bel canto style and (3) established Brazilian songs in the tradition of the European vanguard. His approach influenced several composers including his young student Heitor Villa-Lobos (1887-1959), one of the most significant Latin American composers. The purpose of this research is to inform singers and teachers about one of Brazil's most significant art song composers, and to provide the necessary tools--Brazilian Portuguese diction guide, IPA and poem translations of the selected songs--for effective and accurate performances and interpretations.
Date:
May 2019
Creator:
Riggs, Rawlianne
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
John Ireland's Piano Sonata (1918-1920) and the Influence of Johannes Brahms
John Ireland is one of the most important British composers of the twentieth century. Many scholars believe the works of his early period were deeply influenced by Brahms. After graduating from the Royal College of Music, Ireland went on to develop a much more individual musical language, with influence from contemporary French composers. However, the young composer found himself confronted with the challenge of finding a new and personal style without turning wholly to impressionism or to chromaticism. In Ireland's Piano Sonata, Ireland adopted several of Brahms' compositional techniques. This piano sonata is an excellent example of one of Ireland's mature works that still demonstrates Brahms' influence.
Date:
May 2018
Creator:
Su, I-Shan
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Gabriel Pierné's Sonata in D Minor, op. 36: A Study of the Work's Compositional Language and Context, Focusing on the Composer's Transcription for Flute
There are very few significant sonatas for flute and piano written between 1880 and 1918, a period of unusually rich stylistic diversity. Gabriel Pierné composed his Sonata in D Minor, Op. 36 for piano and violin in 1900, and later transcribed it for flute and piano. Unfortunately, the work has not been embraced to a significant extent by either violinists or flutists. The wealth of violin sonatas from this period might explain it not becoming part of the canon for violinists, but this is not the case for the flute repertoire, where it seems that it should hold a place of genuine importance. Since little has been written about Pierné as a composer or about this piece in either of its versions, this project is intended to promote an understanding of the work in its historical and theoretical context and to advocate for more frequent performances. This document also suggests an alternate version of several particular passages so it can better represent the characteristics of today's flute and its modern techniques. This research will help other flutists and flute professors to introduce and spread an awareness of its existence and ideally helping to establish its place in the flute repertoire. …
Date:
May 2021
Creator:
Le, Huong Thu
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument
Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth-century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project will focus on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time will be included in this document. I will analyze these works, including a comparison between the works of Westhoff and those of other composers during his time, to prove that Westhoff's solo works establish multiple stops as a central factor of German violin playing of the time, and, thus, to promote Westhoff's works as a complement to the extant repertoire of unaccompanied violin music written in the Baroque era before Johann Sebastian Bach's solo violin works and Georg Philipp Telemann's …
Date:
May 2017
Creator:
Gao, Beixi
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
A Guide to Franz Liszt's Piano Transcriptions of Franz Schubert's Songs
Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by singers, with the goal of interpreting the vocal aspects of Liszt's Schubert song transcriptions. The composer Robert Schumann once remarked that Liszt's transcriptions were perhaps the most difficult pieces written for the piano up to that time, and only an intelligent artist could satisfy Liszt's high level of virtuosity without destroying the identity of the original work. This could be considered a warning to pianists not to focus on the technical aspects only. The pedagogical guide presented in the study, based on singers' approaches to the actual songs, should help pianists to "see beyond the notes" and achieve a performance closer to the …
Date:
May 2017
Creator:
Kim, Ah Young
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library