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Carlos Seixas: The Development of the Keyboard Sonata in Eighteenth-Century Portugal. A Lecture Recital Together with Three Recitals of Selected Works of Johann Sebastian Bach, Samuel Barber, Ludwig van Beethoven, Fréderic Chopin, César Franck, Sergei Prokofieff, and Alexander Scriabin (open access)

Carlos Seixas: The Development of the Keyboard Sonata in Eighteenth-Century Portugal. A Lecture Recital Together with Three Recitals of Selected Works of Johann Sebastian Bach, Samuel Barber, Ludwig van Beethoven, Fréderic Chopin, César Franck, Sergei Prokofieff, and Alexander Scriabin

This presentation demonstrates the significance both historically and aesthetically of the obscure Portuguese composer Carlos Seixas, (1704-1742), to the development of the keyboard sonata during the transitional period between the Baroque and Classic eras. The relationship between Seixas and his better-known colleague Domenico Scarlatti is explored and particular musical styles and techniques generally assumed as innovations of the latter composer are shown to exist in keyboard works of Seixas which probably pre-date those of Scarlatti. Thematically-related multi-movement sonatas and structural techniques anticipating the ternary single-movement sonata design are illustrated in several of Seixas1 sonatas. In addition to the recorded performance of selected sonatas by Seixas, this dissertation includes three tape recordings of selected piano works by J. S. Bach, Barber, Beethoven, Chopin, Franck, Prokofieff, and Scriabin.
Date: August 1982
Creator: Allison, Brian J. (Brian Jerome)
System: The UNT Digital Library
The Chevalier de Saint-Georges: An Exponent of the Parisian Symphonie Concertant (open access)

The Chevalier de Saint-Georges: An Exponent of the Parisian Symphonie Concertant

The symphonie concertante, a product of the late eighteenth-century Parisian concert societies, provided a vehicle for display of the virtuoso style sought by contemporary audiences. The works of the Chevalier Joseph Boulogne de Saint-Georges, one of its chief exponents, served as strong influences on the development of the form and its diffusion throughout Europe. The symphonies concertantes of Opus VI, No. 1 and Opus X, No. 2 (according to thematic numbering of Barry S. Brook) date from ca. 1775 and 1779 respectively. A complete set of parts for each is to be found in the private collection of M. Andre Meyer in Paris (Opus VI) and in the Universitetsbiblioteket at Lund (Opus X). The thesis contains background material on contemporary Parisian musical society and the life of Saint- Georges, and a modern scoring of the above symphonies concertantes with analysis and conclusions.
Date: August 1982
Creator: Braun, Melanie
System: The UNT Digital Library
Critical Reaction to Serge Koussevitzky's Programming of Contemporary Music with the Boston Symphony Orchestra 1924-1929 (open access)

Critical Reaction to Serge Koussevitzky's Programming of Contemporary Music with the Boston Symphony Orchestra 1924-1929

Serge Koussevitzky, conductor of the Boston Symphony Orchestra from 1924-1949, had, throughout his career, a reputation as a champion of modern music. The anticipation of his arrival in Boston in 1924 sparked a great deal of public debate about his reported modernism which the critics reflected and contributed to. This thesis analyzes the critical reaction, preserved in scrapbooks of newspaper clippings at Symphony Hall, Boston, to Koussevitzky's programming of contemporary music during his first five years with the BSO.
Date: August 1982
Creator: Morgan, Richard S. (Richard Sanborn)
System: The UNT Digital Library
French Theories of Beauty and the Aesthetics of Music 1700 to 1750 (open access)

French Theories of Beauty and the Aesthetics of Music 1700 to 1750

Studies of eighteenth-century French musical aesthetics have traditionally focused on questions of taste treated in the critical literature of the day. During the first half of the century, however, certain French writers were dealing with aesthetics in the stricter sense of the word, proposing theories of beauty that suited existing philosophical values. The treatises in which these ideas were set forth--Jean-Pierre de Crousaz' Traité du beau, Jean-Baptiste DuBos' Réflexions critiques sur la poësie et sur la peinture, Yves-Marie André's Essai sur le beau, and Charles Batteux' Les Beaux arts réduits à un même principe--are among the first learned writings to present the musical experience in something other than a mathematical or pedagogical light. This study investigates not only the role music played in these theories of beauty, but also the methodological problems inherent in translating this data into historical information.
Date: August 1982
Creator: Dill, Charles William
System: The UNT Digital Library
Harry Partch: And on the Seventh Day Petals Fell on Petaluma (open access)

Harry Partch: And on the Seventh Day Petals Fell on Petaluma

Harry Partch's tuning system is an important contribution to tuning theory, and his music is original and significant. Part One of this study presents a brief biography of Partch, a discussion of his musical aesthetics (Monophony and Corporeality), and a technical summary of his tuning system. These elements are placed in historical perspective. Part Two presents a comprehensive analysis of "And on the Seventh Day Petals Fell on Petaluma," discussing the organization of formal, textural, rhythmic, linear, and tonal elements in the thirty-four "verses" of the work. Part Two concludes by showing how large-scale structure in the work is achieved through an overlay process.
Date: August 1982
Creator: Nicholl, Matthew James
System: The UNT Digital Library
Drama and Characterization in Opera Settings of "A Midsummer Nightʼs Dream" by Britten and Siegmeister (open access)

Drama and Characterization in Opera Settings of "A Midsummer Nightʼs Dream" by Britten and Siegmeister

Although Shakespeare deliberately downplays characterization in his moonlit dream fantasy, both Britten and Siegmeister exploit this dramatic element as the basis of their opera settings of the play. Through the operas, the shallow characters take on new dimensions, creating musical experiences existing quite independently of Shakespeare, while at the same time retaining the atmosphere of a dream-fantasy. Placing emphases upon varying aspects of the play, the two composers create entirely different revelations from the Bard's dream. This paper presents a study of the way in which drama and characterization are treated in the operas, A Midsummer Night's Dream and Night of the Moonspell.
Date: August 1982
Creator: Allen, Debra K. (Debra Kaye)
System: The UNT Digital Library
Concerto for Piano, Winds, and Percussion (open access)

Concerto for Piano, Winds, and Percussion

"Concerto for Piano, Winds, and Percussion" is, as the title implies, a piece which features the solo piano in combination with an ensemble of winds and percussion. The instrumentation of the ensemble is two flutes; oboe; two Bb clarinets; Eb alto clarinet; Bb bass clarinet; bassoon; two Bb trumpets; two F horns; two trombones; baritone; tuba; and a percussion section of three players playing timpani, tambourine, xylophone, vibraphone, glockenspiel, chimes, triangle, suspended cymbal, snare drum, bass drum, two bongos, and small woodblock. The major sections of the piece are distinguished primarily by tempo. The fast-slow-fast arrangement of those sections aligns it with the traditional concerto format. The piece is in one movement and is approximately twelve and one-half minutes in duration.
Date: August 1982
Creator: Ring, Gordon L. (Gordon Lee)
System: The UNT Digital Library