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School of Music
274
College of Music
122
Department of Music
59
Division of Music History, Theory, and Ethnomusicology
29
Division of Composition Studies
22
Division of Instrumental Studies
11
Division of Keyboard Studies
2
Music
2
Department of Composition
1
Department of Instrumental Studies
1
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A Survey of the Research Literature on the Female High Voice
The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice.
Date:
December 1988
Creator:
Stephen, Roberta M. (Roberta Mae)
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
The Chansonnier Biblioteca Casanatense 2856: its History, Purpose, and Music
The chansonnier held by the Biblioteca Casanatense in Rome, designated Codex 2856 (0. V. 208), is a handsome volume containing 123 polyphonic compositions in the style of the Franco-Flemish School, circa 1450 to 1400. Although no text beyond the incipit is found in the manuscript, the value of the source is enhanced by the names of the composers of 106 of the compositions. Volume one focuses on the manuscript, giving a physical description of the manuscript, recounting the history of the manuscript, and includes discussion of selected composers and a concordance. Volume two contains the music of the chansonnier Biblioteca casanatense 2856.
Date:
August 1970
Creator:
Wolff, Arthur S.
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
The Life and Music of Jacques-Christophe Naudot
Favorable judgment of a work of art, or of a man, usually means that the work of art, or a record of the man, will be preserved for future generations to judge for themselves. An unfavorable judgment may result in a richly deserved obscurity or an irreplaceable loss, unless favorable circumstances combine to preserve the evidence for a more perspicacious generation. One can be forgiven if he distrusts history's judgment; mistakes which have been corrected are legion (the case of J. S. Bach comes most vividly to mind) and skepticism is warranted unless or until the facts are available for confirmation. It is difficult to explain the paucity of information about Jacques-Christophe Naudot, Not that he is another J. S. Bach; neither Fleury, who made the first serious effort to revive interest in his music in the early 1920's, nor Ruf, who has done much in this regard recently, nor this writer makes any such claim. He does not, however, deserve the obscurity that has been his lot. If his music is not always profound, it nevertheless has both intrinsic and historical value, and some of his works reveal considerable contrapuntal skill. It may be that Naudot stood in the …
Date:
June 1970
Creator:
Underwood, T. Jervis (Troy Jervis), 1932-
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Harmonic Practice in the Guitar Music of Manuel M. Ponce
This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chapter III gives a survey of harmonic materials in this work, while Chapter IV reveals aspects of its structural coherence.
Date:
December 1985
Creator:
Nystel, David J.
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
An Investigation of Textural Activity and Its Hierarchical Structures in Selected Works by Krzysztof Penderecki
This study focuses on temporal aspects of the music of Krzysztof Penderecki and deals with these on the level of textural activity. The analyses are based on a referential idea called a "discrete sound event," defined as an occurrence of a sound or collection of sounds which, as a unit, is distinct from the surrounding texture. These sound events are then used to appraise textural activity from layer fluctuation and composite density. The pieces selected for applying these techniques are the Threnody to the Victims of Hiroshima, from 1960, the Fluorescences, from 1961, and the 1965 Capriccio for oboe and strings.
Date:
May 1986
Creator:
Daley, Paul B. (Paul Byron)
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
An Exploratory Study of Laryngeal Movements During Performance on Alto Saxophone
The purpose of this study was to investigate laryngeal movements in selected performance situations on alto saxophone. The specific research problems were to describe glottal activity in three selected musicians as they performed musical tasks with (1) various pitch ranges and registers, (2) fortissimo and pianissimo dynamic levels, (3) crescendo and decrescendo, (4) long tones with vibrato, and (5) legato and staccato styles of articulation. A fiberoptic laryngoscope was employed to gather the visual images, which were recorded on a sound synchronized video tape. A rating system was devised to provide graphic representation of the data. Results of the data indicated that the glottis was used as an airflow constrictor in certain performance situations, especially in pianissimo performance. Other conclusions were drawn, and suggestions for further research were discussed.
Date:
December 1984
Creator:
Peters, Jeffrey T. (Jeffrey Thomas)
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
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
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
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Stravinsky and the Transcriptional Process: an Analytical and Historical Study of Petrouchka
After considering Petrouchka's historical and compositional background and the orchestral revision of 1947, this thesis analyzes the composition, dealing specifically with formal, harmonic, and melodic aspects. The study's most important discovery is of a common formal design for all the scenes and the piece as a whole, where the outer thirds of ternary structures are equal in length. The thesis also examines Stravinsky's transcriptional procedures, cataloging and contrasting them with those of the nineteenth century. The solo transcription of Petrouchka is fully discussed in the light of Stravinsky's singular treatment of and writing for the piano. In addition to the recorded performance of Trois Mouvements de Petrouchka, this dissertation includes three tape recordings of selected piano works of J. P. Rameau, L. V. Beethoven, F. Chopin, F. Liszt, C. Franck, A. Scriabin, and G. Crumb.
Date:
May 1979
Creator:
Hallquist, Robert N.
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Hartley Wood Day: Inventor of Numeral Notation and Adversary of Lowell Mason
Ignorance of the basic principles of music reading was one of the primary obstacles to the improvement of congregational singing in nineteenth-century America. Six separate numeral notation systems arose to provide a simple way for the common man to learn the basic principles of music. Hartley Day developed his own numeral notation system and published six tune-books that enjoyed modest success in the New England area. This thesis examines Day's numeral notation system as it appeared in the Boston Numeral Harmony (1845), and the One-Line Psalmist (1849). It also studies Day's periodical, The Musical Visitor, in which he continually attacked Lowell Mason, possibly leading to Mason's dismissal as Superintendent of Music of Boston's public schools.
Date:
December 1991
Creator:
Carnes, Tara Barker
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Designs
Designs is an algorithmic composition for small orchestra. The main compositional process used involves the realization and implementation of various musical algorithms discussed in the book Composition with Pitch-Classes by theorist/composer Robert Morris.
Date:
August 1993
Creator:
Fu, Yuen-Wai
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
How to Practice in an Efficient Way
Twi major areas concerning the problems of practice are discussed. One is that poor practice often relegates itself to mindless repetition. The second problem is that the student often has a vague definition of piano technique. All technique should be a means of expression, not just an isolated physical exercise. Therefore, the purpose of this thesis was to understand the nature of practice and to develop a suggested practice routine which incorporates both technical and musical aspects. Two recommendations, strategies toward effective practice and an ideal practice sessions, serve as a practice outline and reference for both piano teacher and student. An appendix presents a collection of the thoughts and viewpoints on practicing from forty-four internationally acclaimed pianists.
Date:
May 1999
Creator:
Hu, Shu-Chen, 1968-
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Compositional approaches within new media paradigms
"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
Date:
May 2016
Creator:
Oliveiro, Mark, 1983-
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Background, Compositional Style, and Performance Considerations in the Clarinet Works of David Baker: Clarinet Sonata and Heritage: A Tribute to Great Clarinetists
David Baker (b. 1931) is an educator, composer, and jazz legend. He has composed at least fifteen works that include the clarinet. Baker’s Clarinet Sonata (1989) has become a standard of clarinet repertoire and a popular recital inclusion. His chamber work Heritage: A Tribute to Great Clarinetists (1996) interweaves solo transcriptions of five jazz clarinetists. The compositional style of Baker’s clarinet works frequently links jazz and classical idioms. The two works discussed in this document are excellent examples for classically trained musicians who would like to increase their ability and experience in interpreting jazz styles. The purpose of this document is: (1) to provide background, style, and performance considerations for Baker’s Clarinet Sonata and Heritage: A Tribute for Great Clarinetists, for Clarinet, Violin, Piano and Double Bass; (2) based on these style elements, to provide suggestions for interpreting jazz-style works for classically trained clarinetists; and (3) to archive Baker’s published and unpublished clarinet compositions. Appendices include transcripts of interviews with David Baker and other experts in this field (James Campbell, Rosana Eckert, Mike Steinel and Steven Harlos).
Date:
May 2016
Creator:
Lin, Sheng-Hsin
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Transient Delete: Original Composition with a Critical Examination of the Compositional Process and a Survey of Digital Technology in Opera
This paper explores various technologies available to the modern composer and utilized in recent modern opera, providing creative approaches to producing aural, visual, and theatrical performance environments. It also explores my own use of digital technology in Transient Delete. Transient Delete is a digital miniature-opera that explores different aspects of a community of post-human cyborgs. The story follows Iméra, a newly converted cyborg as she acclimates herself to this new cybernetic existence. During this process she meets several other cybernetic entities that are there to help guide her through her metamorphosis.
Date:
May 2016
Creator:
Shirey, Benjamin, 1985-
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Looking through a Different Lens, Beyond Censorship: The American Reception of Lady Macbeth of the Mtsensk District
The censorship of Lady Macbeth of the Mtsensk District is a familiar story to musicologists, but reception of the opera is not frequently mentioned. Examining the reception of a work can bring a work's relative importance into focus. In this thesis, German literary and reception theorist Hans Robert Jauss's model of the horizon of expectations is applied to reviews of American productions of Lady Macbeth. Curiosity about communism following the Great Depression in 1930s, America and American music critics' knowledge that Soviet composers worked for the Soviet regime led to the belief that Lady Macbeth was officially approved export from the Soviet Union. When the article condemning the opera as a Western formalism appeared in the Soviet magazine, Pravda, Americans needed to adjust their understanding of Lady Macbeth as a socialist expression. Following the work's revival in San Francisco in 1981, the influence of Solomon Volkov's Testimony is prevalent in many reviews. Many reviewers use Volkov's narrative of Shostakovich as covert dissident of the Soviet Union to assert that the censorship of the opera was about the content of the plot and not the music. Following the Soviet rejection of the work, American critics tried to claim Shostakovich for the …
Date:
August 2017
Creator:
Cassell, Holly
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
A Study of Idiomatic Piano Compositions During the Cultural Revolution in the People's Republic of China
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)
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
An Argument for the Reassessment of Stravinsky's Early Serial Compositions
Between 1952 and 1957, Igor Stravinsky surprised the world of music by gradually incorporating serialism into his style of composition. Although Stravinsky still used the neo-classical trait of making strong references to the music of earlier periods, musical analyses of this transitional period have focused on serial aspects to the exclusion of anachronistic elements. Evidence of Stravinsky's possible use of musical structures adapted from earlier times is found in his consistent use of musical figures that are closely related to the cadences of the late Medieval and Renaissance eras. By fully addressing these neo-classical traits in future analyses, music theorists will gain an additional perspective, which is helpful in understanding the music of Stravinsky's transitional period.
Date:
December 1995
Creator:
Hughes, Timothy Stephen
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Boulez's Sonatine and the Genesis of His Twelve-tone Practice
This dissertation proposes that the Sonatine broadly unfolds a kinetic structure that stems from the traditional tension-relief model and, consequently, its dependence on tradition proves much deeper than Boulez would acknowledge.
Date:
May 1998
Creator:
Chang, Sangtae
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Comparative Study of the Bel Canto Teaching Styles and their Effects on Vocal Agility
This thesis examines the historical significance of the vocal methods employed from the middle of the seventeenth century to the beginning of the nineteenth century in what became known as the bel canto era. It provides further exploration into the pedagogical procedures of the bel canto technique through a study of the premier instructors and singers from this period. The resurgence of interest in this tradition is addressed along with its impact on current vocal pedagogy. The vital role that vocal agility played as one of its most distinguishing traits is the primary factor under investigation. A discussion of the bel canto teaching styles in relation to their approach to agility is a major point of inquiry. By maintaining a link between present artists and pedagogues and the old Italian school, it helps the singer understand the historical implications of vocal agility as an integral part of healthy vocal development.
Date:
August 1996
Creator:
Harper, Portia
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Fanny Mendelssohn Hensel : A Bridge between Felix Mendelssohn and Johannes Brahms
This thesis is a study of four compositions written by Fanny Mendelssohn Hensel, older sister of Felix Mendelssohn. Her music is compared with four pieces composed by Felix. This study shows that Fanny was a gifted and creative composer, even surpassing Felix and predating Brahms with her compositional ideas and progressive uses of harmony. Despite her excellent education and recognition among those who knew her well, she did not publicize her talent in any way because of pressure from her father, Abraham, and Felix to stay within the prescribed societal confines of wife and mother.
Date:
December 1997
Creator:
Tarpenning, Emily
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Structure and Form in Two Late Works for Flute and Orchestra by Ernest Bloch (1880-1959): Suite Modale (1956) and Two Last Poems (Maybe. . .) (1958) -- a Lecture Recital, Together With Three Recitals of Selected Works of J.S. Bach, Jolivet, Mozart,and Others
The lecture was presented on November 18, 1991. This presentation focused on the only two compositions for solo flute and orchestra by Ernest Bloch. Written during the last three years of the composer's life, the pieces are representative of his last style period. While Suite Modale is neobaroque in style, Two Last Poems is much more subjective. Together they represent a synthesis of many of the stylistic characteristics of Ernest Bloch. The musical parameters discussed included form, melody, texture, rhythm, harmony, and expressive devices.
Date:
May 1992
Creator:
Stirzaker, Kim E. (Kim Elizabeth)
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
A Comparative Analysis of the "Dies Irae" in Mozart's Requiem and Cherubini's Requiem in D Minor
The thesis speculates on the possible influence of Mozart's Requiem on Cherubini's Requiem in D Minor, concluding that Cherubini's setting of the Sequence ("Dies irae") was indeed influenced by Mozart's setting of this liturgical text both on the micro and macro levels.
Date:
August 1997
Creator:
Leong, Jeremy
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library
Three Motivic Topics in Beethoven's Piano Quintet, Op. 16
The first movement of the Piano Quintet, Op. 16 of Ludwig van Beethoven works out three significant motivic "topics": a chromatically filled-in second, appearing first as 5 - #5 - 6 (Bb - B - C in Eb major); the emphasis om the submediant, both as vi in Eb major and as the tonal region of C minor; and the melodic interval of the sixth, which, when inverted to become a descending third, determines the structure of tonal regions at crucial points in the movement. These three motivic topics are introduced in the opening measures of the piece and are subsequently unfolded throughout the movement; the focus of the thesis will be to trace the unfolding of these three topics.
Date:
August 1995
Creator:
Gratton, J. Brian (John Brian)
Object Type:
Thesis or Dissertation
System:
The UNT Digital Library