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An Analytical Study of Prokofiev's Sonata, Opus 119, for Violoncello and Piano (open access)

An Analytical Study of Prokofiev's Sonata, Opus 119, for Violoncello and Piano

Sergei Prokofiev experimented with styles which shocked the public because his ideas were far ahead of his time. In the 1930's, the Soviet composer turned to a neoclassical style. His Sonata, Opus 119, for violoncello and piano, is a product of this final period of composition. The purpose of this study is to determine the stylistic characteristics of this sonata. This study includes a detailed description of the compositional techniques Prokofiev used in this work. These techniques are categorized according to the basic stylistic elements. The sources of data are comprised of the score of Prokofiev's Sonata, Opus 119, as well as books on twentieth-century music and on Prokofiev as a man and as a composer. The score was used for purposes of analysis.
Date: August 1972
Creator: Rietz, Marilyn June
System: The UNT Digital Library
A Comparison of Sixteenth Century Polyphonic Devices Used by Pierluigi da Palestrina and William Byrd (open access)

A Comparison of Sixteenth Century Polyphonic Devices Used by Pierluigi da Palestrina and William Byrd

This thesis is a study of the usage of sixteenth-century polyphonic devices as employed by the English composer William Byrd and the Italian composer Pierluigi Palestrina. Both men represented a culmination of sixteenth-century contrapuntal composition in their respective school and period, Byrd of the Renaissance Tudor period, and Palestrina of the Roman school and Renaissance period. Palestrina's work became a pattern for sacred Roman music during the late Renaissance because of its consistency, its origin in the modes, and its compositional style. As it became a popular standard for Latin liturgical music, Catholic composers of all nationalities began to use it as a guide for their writing. At this time in England, one such young composer named William Byrd began to emulate Palestrina. Up to this time few of the English composers had taken advantage of the progress made by the musicians of the Netherlands school. These two composers lived about the same time, and their vocal works are quite comparable, yet there was never any known contact between them. There seem to be some notable differences, but each of these is as consistent as the similarities. Both men were prolific writers of motets, which mirrored all of the Roman …
Date: December 1972
Creator: Cheshier, Joanne Dallinger
System: The UNT Digital Library
Pandiatonicism in Three Ballets by Aaron Copland (open access)

Pandiatonicism in Three Ballets by Aaron Copland

Analysis of Appalachian Spring, Rodeo, and Billy the Kid
Date: December 1972
Creator: Adams, Kenny L.
System: The UNT Digital Library