Manuel Machado is known as one of the most innovative Spanish modernist poets of the twentieth century. Despite his recognition as a literary figure in Spain, the mimetic descriptions in Machado's poetics are interpreted as mere innovations in Spanish poetry. Those mimetic descriptions are examples of ekphrasis in Spanish literature. Ekphrasis is both a literary and representational art. The mimetic dimension in Machado's poetry is ignored or misinterpreted by the critics of his poetics. This study written in Spanish investigates the use of ekphrasis in terms of Machado's poetic style. An analysis of Manuel Machado's ekphrastic poems will determine: ekphrastic poetry is a representational art; how visual and acoustic aspects of Machado's poems create enargeia; and the manifestation of ekphrasis in Spanish verse. In using Machado's poems, this project will contribute to future explorations of ekphrasis in Spanish literature.

Daily student newspaper from the University of North Texas in Denton, Texas that includes local, state, and campus news along with advertising.

Fall/spring performances program book from the 2010-2011 school year at the University of North Texas College of Music.

Fall/spring performances program book from the 2010-2011 school year at the University of North Texas College of Music.

Fall/spring performances program book from the 2010-2011 school year at the University of North Texas College of Music.

Student performances program book from the 2010-2011 school year at the University of North Texas College of Music.

Student performances program book from the 2010-2011 school year at the University of North Texas College of Music.

Student performances program book from the 2010-2011 school year at the University of North Texas College of Music.

As new musical styles have emerged in the twentieth century with characteristic sounds, chords, forms, meters, and intervals, teachers need to broaden and re-define the way they introduce musical concepts to beginning piano students. The purpose of this study is to offer different instructional possibilities aside from conventional methods of teaching beginning pianists. This is accomplished through a comparison of the two different approaches of the Hungarian composer Béla Bartók and the American composer Ross Lee Finney. Bartók’s Mikrokosmos, a graded set of 153 pieces, and Finney's 32 Piano Games are examined through this paper.

A faculty, guest artist, and alumna recital performed at the UNT College of Music Voertman Hall.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

The North Texan includes articles and notes about University of North Texas students, faculty, and alumni activities.

This report provides an overview of recent political developments in Colombia. It reviews the administration of President Uribe (2002-2010), continuing into the election of President Juan Manuel Santos and his first months in office. The report then provides background on the longstanding conflict with internal armed groups that has marked Colombia’s modern development, examining the roots of the conflict and its major actors as well as their present status. The report considers ongoing challenges such as human rights, demobilization and displacement, drug trends, and Colombia’s regional relations. It outlines the National Consolidation Plan which updates Plan Colombia with a whole-of-government approach to eliminate the insurgency, and it describes the U.S.-Colombia Defense Cooperation Agreement. The report raises some of the major policy issues that the U.S. Congress has had, and will continue to pursue, in relation to U.S.-Colombia policy, such as the pending U.S.-Colombia Free Trade Agreement.

Paul Creston (1906-1985) was one of the most significant American composers from the middle of the twentieth century. Though Creston maintained elements of the nineteenth-century Romantic tradition and was categorized as a “Neo-Romantic” or “20th-century traditionalist,” many of Creston’s compositions contain elements of Baroque music. His Piano Sonata, Opus 9 provides significant examples of Baroque elements, while already foreshadowing his mature style. The purpose of this study is to explore Baroque elements in the compositional language of Paul Creston’s Piano Sonata, Opus 9. All four movements of the Piano Sonata will be examined in regards to its stylistic features associated with Baroque practices. These features mainly consist of rhythm, texture, imitative writing, and repeated phrase structure. Each category of the study will include comparisons of Domenico Scarlatti’s keyboard sonatas with Creston’s sonata. Through an examination of the Piano Sonata and its Baroque elements, this study hopes to inspire renewed interest in the work among musicians and to help the performer give a more stylistically coherent, and accurate, performance.

The unfolding of eroticism always has been controlled socially; its expression forbidden for the women and accepted for the men. Ernestina de Champourcín’s poetry is an example of the presence of eroticism and the Avant-Garde in Spanish poetry. Champourcín becomes a member of the Generation of ‘27 after appearing in the prologue of Gerardo Diego’s anthology, Poesía Española Contemporßnea (1934). According to this thesis, the shortage of studies on her work is due to her exile, not to the Spanish Civil War. The exposition celebrates the life and work of Champourcín and studies the relationship between the Avant-Garde and sensuality in her poetry and in poems of Pedro Salinas and Vicente Aleixandre. It compares their individual handling of the Avant-Garde, the sexual act, and love, and concludes that Champourcín’s poetry is as Avant-Garde and erotic as the works of her companions of the Generation of ‘27.

The etudes of Chopin are masterworks of the piano literature and are designed to go beyond mere technical exercises; moreover, each etude represents not only a technical study but also has a distinct musical character. Alarmingly, the current trend seems to be to assign the Chopin etudes at an increasingly young age to students who are not yet equipped either technically or musically to handle them. As Chopin’s pupil, Carl Mikuli, commented in the preface to his Chopin edition, the etudes were meant for “more advanced students.” If Chopin had intended his etudes for students at an intermediate level, he would have assigned them to most of his students; however, only a limited number of students had his permission to work on their master’s etudes. As a teacher, I have always felt the need to devise a systematic teaching plan to guide students to handle the challenges of these pieces both physically and musically. This study examines the repertoire which might help prepare a student to learn the etudes without overstraining his/her muscular and mental ability. Rooted in Chopin’s teaching and his recommendation of the pieces to learn before tackling the etudes themselves, this pedagogical study guide intends to help …

Concert presented at the UNT College of Music Voertman Hall.

Concert presented at the UNT College of Music Voertman Hall.

Concert presented at the UNT College of Music Voertman Hall.

Concert presented at the UNT College of Music Voertman Hall.

Recital presented at the UNT College of Music Voertman Hall in partial fulfillment of the Doctor of Musical Arts (DMA) degree.

The newsletter for the University of North Texas College of Music includes information about the faculty, staff, alumni, and activities of the College of Music.

The newsletter for the University of North Texas College of Music includes information about the faculty, staff, alumni, and activities of the College of Music.