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Derivation of the Thematic Material and Intervallic Gestures From the Main Theme in Fantasia Carioca By Sérgio Assad (open access)

Derivation of the Thematic Material and Intervallic Gestures From the Main Theme in Fantasia Carioca By Sérgio Assad

The quantity of classical guitar literature reached a new peak late in the twentieth century with many famous guitarists publishing their own works for solo classical guitar. This increase in the published guitar literature resulted in a decline of the relative analytical discussions of contemporary guitar works. Sérgio Assad is a perfect example of an active guitarist/composer whose works are frequently performed in guitar recitals and yet very little discussion has been provided attempting to gain a deeper understanding of his compositional language. The purpose of this study is to two-fold: first, to show that Fantasia Carioca (1994) is a very carefully organized work and includes an intricate network of thematic material developed through a spectrum of intervallic gestures, of which all derive from the main theme of the piece; second, to provide a deeper insight into the compositional language of Sérgio Assad through a demonstration of different compositional procedures to which the composer resorts. This one-movement piece reveals a high level of organization present in Sérgio Assad's style. The entire thematic material is carefully derived from the main theme. Each thematic unit shows a set of predetermined characteristics that allow these units to react to particular textures and situations. …
Date: May 2013
Creator: Abdihodži?, Armin
System: The UNT Digital Library
A Performance Guide to Jean Balissat’s Kaleidoscope for Trumpet and Percussion (open access)

A Performance Guide to Jean Balissat’s Kaleidoscope for Trumpet and Percussion

Jean Balissat’s Kaleidoscope for trumpet and percussion is an important yet widely unknown piece within the trumpet repertoire. A comprehensive performance guide is necessary in order to overcome the musical and technical demands that this piece presents to the trumpeter. The first section of this document provides historical and contextual information about Jean Balissat, his compositional style, and relevant information regarding Kaleidoscope. The second section of this document includes a performance guide to the work. The third and final section provides the trumpet player with a pedagogical guide to performing this work. This guide includes background, contextual, and pedagogical information necessary for an informed and high-level performance.
Date: August 2013
Creator: Anderson, Matthew Douglas
System: The UNT Digital Library
Iron Sharpens Iron: Duets for Two Women in the Teaching/instruction of Undergraduate Women (open access)

Iron Sharpens Iron: Duets for Two Women in the Teaching/instruction of Undergraduate Women

Duet literature remains largely untapped as a pedagogical tool in the undergraduate voice studio. This dissertation examines the ways in which eight duets for female voices, although not written primarily for pedagogical use, may be used to teach four main areas of voice technique: intonation, vocal agility, legato singing, and dramatic skills. Duets are chosen primarily from the standard repertoire and are in English, German, French, Italian and Latin. The compositional styles range from the Baroque period through the 20th century. Genres include art song, oratorio, and opera. Each chapter focuses on one of the four vocal skills listed above, and includes examinations of two duets whose vocal writing (rhythm, tessitura, intervals, tempi, and text) make them appropriate candidates for pedagogical use in the improvement of that specific skill. Both male and female teachers of singing may utilize this project as a practical resource and model in how to use other duets, including those for other voice types, for similar purposes in their teaching studio. This project also demonstrates how the experience of singing duets helps students develop ensemble singing as they listen and respond to each other. Finally, this project offers voice teachers an additional pedagogical tool to help …
Date: August 2013
Creator: Backlin, Laurissa
System: The UNT Digital Library
A Performance Guide to Arvo Pärt's Concerto Piccolo Über B-A-C-H for Trumpet, Strings, Harpsichord, and Piano (open access)

A Performance Guide to Arvo Pärt's Concerto Piccolo Über B-A-C-H for Trumpet, Strings, Harpsichord, and Piano

Arvo Pärt's Concerto Piccolo über B-A-C-H for trumpet, strings, harpsichord, and piano is a brief yet challenging work in the trumpet repertoire. A carefully articulated performance guide is necessary to aid trumpeters in overcoming the numerous musical challenges presented in this piece. Currently, there is no resource that helps in solving performance choices and difficulties in this work. This first section of this document provides historical and contextual information on Arvo Pärt, his compositional output during his experimental period, and subsequently, Concerto Piccolo. The second section includes a performance analysis of the work, while the third gives trumpet players pedagogical suggestions and practical exercises for proper preparation of Concerto Piccolo. This guide presents performers with relevant background, analytical, and pedagogical information required for an informed and high-level performance.
Date: August 2013
Creator: Bishop, James Martin
System: The UNT Digital Library
Harrison Birtwistle: an In-depth Study of His Music for Trumpet with a Performance Guide to the Silk House Tattoo (open access)

Harrison Birtwistle: an In-depth Study of His Music for Trumpet with a Performance Guide to the Silk House Tattoo

This document examines the works by Sir Harrison Birtwistle that feature the trumpet as a solo instrument, with extra emphasis placed on The Silk House Tattoo. This document also features a performance guide for the trumpet parts of The Silk House Tattoo. Pedagogical methods for learning the most challenging passages are evaluated, and daily exercises based on the specific demands of each excerpt are offered.
Date: August 2013
Creator: Bonnett, Kurt L.
System: The UNT Digital Library
Revisioning a Masterpiece: Jon Magnussen’s “Psalm” (open access)

Revisioning a Masterpiece: Jon Magnussen’s “Psalm”

In 2001, composer Jon Magnussen met the unusual challenge of unifying his new score for Psalm, an already-existing dance work from 1967, with the original artistic conceit of the choreographer, José Limón, who died in 1972. Limón was inspired directly by his reading of André Schwartz-Bart’s Holocaust novel, The Last of the Just, and had initially desired to use Stravinsky’s Symphony of Psalms as the score for the dance. Faced with cost-preclusive licensing fees for the Stravinksy, Limón engaged Eugene Lester to compose a score for Psalm. The Lester score, now lost, served the work for only a brief time, when the piece fell out of the repertory. When approached to create a new score for the extant dance work, Magnussen chose to draw his own influence from three works: the dance itself, Schwartz-Bart’s novel, and Stravinsky’s Symphony of Psalms. In addition, Limón Company Artistic Director Carla Maxwell served as Magnussen’s collaborator in reworking Psalm to resemble the work she believed Limón had desired all along. Magnussen’s influence from Stravinsky and Schwartz-Bart are revealed in the choices of text, the scored forces, and melodic ideas generated by the composer by mapping the names of significant Holocaust sites onto scalar patterns. …
Date: August 2013
Creator: Burnett, Jason
System: The UNT Digital Library
The Formative Years: an Exploration of the Early Training and Song Juvenilia of Samuel Barber (open access)

The Formative Years: an Exploration of the Early Training and Song Juvenilia of Samuel Barber

In the art of song composition, American composer Samuel Barber was the perfect storm. Barber spent years studying under superb instruction and became adept as a pianist, singer, composer, and in literature and languages. The songs that Barber composed during those years of instruction, many of which have been posthumously published, are waypoints on his journey to compositional maturity. These early songs display his natural inclinations, his self-determination, his growth through trial and error, and the slow flowering of a musical vision, meticulously cultivated by the educational opportunities provided to him by his family and his many devoted mentors. Using existing well-known and recently uncovered biographical data, as well as both published and unpublished song juvenilia and mature songs, this dissertation examines the importance of Barber's earliest musical and academic training in relationship to his development as a song composer.
Date: May 2013
Creator: Chester, Derek T.
System: The UNT Digital Library
The Sonatas of Johann Gottfried Eckard (1735-1809) and the Evolution of Keyboard Instruments Between 1760 and 1785 (open access)

The Sonatas of Johann Gottfried Eckard (1735-1809) and the Evolution of Keyboard Instruments Between 1760 and 1785

Johann Gottfried Eckard was a self-trained composer and keyboardist studying with Carl Philipp Emanuel Bach’s Versuch while he lived in Augsburg. Eckard traveled to Paris with the keyboard instrument builder, Johann Andreas Stein, in 1758 and settled in France for the rest of his life. Eckard only composed eight keyboard sonatas and a set of variations on the Menuet d’Exaudet. He published his works during the transitional period from harpsichord to fortepiano. The eight keyboard sonatas incorporated variations of musical styles which included Italian sonata, galant, and empfindsamer stil. His keyboard sonatas influenced his contemporaries including Wolfgang Amadeus Mozart and Johann Schobert. Eckard was one of the early fortepiano composers in France and tried to promote the new instrument, but wrote in the Foreword of six sonatas (op.1), that they were suitable for the harpsichord, the clavichord, and the fortepiano. The six sonatas of op.1 were published in 1763, two years after fortepiano was advertised for sale in the local newspaper. In 1768, the fortepiano was used in a public concert for the first time in Paris. In the aspect of performance practice, both harpsichord and fortepiano used juxtapose during the transitional period, even though the music would sound better …
Date: August 2013
Creator: Chiang, I-Fang
System: The UNT Digital Library
The Poetic and Musical Dialogue of Ambrosini and Cavalcanti: a Study of Claudio Ambrosini’s a Guisa Di Un Arcier Presto Soriano for Solo Flute (open access)

The Poetic and Musical Dialogue of Ambrosini and Cavalcanti: a Study of Claudio Ambrosini’s a Guisa Di Un Arcier Presto Soriano for Solo Flute

Claudio Ambrosini’s (b. 1948) unpublished work for unaccompanied flute, A guisa di un arcier presto soriano (1981), although virtually unknown to the musical public and to connoisseurs alike, represents one of the most dazzling and impressive displays of extended techniques in the repertoire of solo flute music. The title, A guisa di un arcier presto soriano, comes from the seventh line of a sonnet by the Italian medieval poet Guido Cavalcanti (ca. 1250-1300) and translates as “just like a fast Syrian archer.” The archer in question is Eros, the Greek god of love. By the composer’s own admission, the form and expression of this piece is closely linked with the form and expression of Cavalcanti’s sonnet. In particular, Ambrosini intimates three elements specifically drawn from the poem: 1) moments of tension and suspense, as Eros silently approaches his target with bow and arrow in hand; 2) moments of love, even to the point of suggesting a love song; and 3) moments that suggest the fast passage of arrows. The purpose of this dissertation is to explore these three elements in Ambrosini’s work and to trace the correlations of the same elements in Cavalcanti’s sonnet. The expression of such concrete poetic …
Date: August 2013
Creator: Choi, Su-hyun
System: The UNT Digital Library
From Germany to Palestine: a Comparison of Two Choral Works by Paul Ben-haim – “Joram” and “Kabbalat Shabbat” (open access)

From Germany to Palestine: a Comparison of Two Choral Works by Paul Ben-haim – “Joram” and “Kabbalat Shabbat”

The choral music of Israeli composer Paul Ben-Haim (1897-1984) falls clearly into two distinct compositional periods. Born in Munich, Germany as Paul Frankenburger, the composer received formal, classical training at the Munich Academy of Music. His compositions from this period are an amalgamation of many styles, and they include influences of Bach, Handel, Mahler, Debussy, and Strauss. In 1933, Ben-Haim, along with other trained artists and composers, immigrated to Palestine as part of the Fifth Aliyah. Prior to this wave of immigration, Palestine had not yet received any serious composers, and musically, was still in its infancy. Eager to divorce themselves from the West and identify with their new home in the East, Ben-Haim and his fellow transplant composers sought a new musical language and a unique voice for Israel. Enamored with the exotic sounds of his new environment, Ben-Haim began to absorb elements of Eastern Mediterranean music into his compositions. As a Westerner, he was not familiar with these Eastern traditional folk song melodies, modes, and scales, and he required outside source materials from which to draw. This document examines two choral works, one from each of Paul Ben-Haim’s style periods, Joram (1933) and Kabbalat Shabbat (1968), and identifies …
Date: August 2013
Creator: Dalrymple, Holly
System: The UNT Digital Library
Transfantasies for Flauto Traverso, Computer Music, and Dance (open access)

Transfantasies for Flauto Traverso, Computer Music, and Dance

TransFantasies is an interdisciplinary composition for Baroque flute (flauto traverso), computer music, and dance. A crucial component of the work is an interactive hardware and software environment that provides the opportunity for the players to shape aspects of the work during the performance. This essay discusses the influences that inspired the work and presents an in-depth analysis of notable elements of the composition. Primary issues include compositional models for gesture-based composition, historical performance practices, interactivity, and relationships between music and dance. The final component of the essay details the software component designed to create the composition. It also discusses music technology in current practice and its role in this particular work. At its core, TransFantasies is concerned with those moments where computer-influenced decisions and human behaviors collide.
Date: May 2013
Creator: Fick, Jason
System: The UNT Digital Library
Educating American Audiences: Claire Reis and the Development of Modern Music Institutions, 1912-1930 (open access)

Educating American Audiences: Claire Reis and the Development of Modern Music Institutions, 1912-1930

The creation of institutions devoted to promoting and supporting modern music in the United States during the 1920s made it possible for American composers to develop an identity distinct from that of European modernists. These institutions were thus a critical part of the process of modernization that began in the United States during the early decades of the twentieth century. There is substantial scholarship on these musical institutions of modern music, such as the International Composers’ Guild and the League of Composers; but little to no work has been done on the progressive musical institutions of the 1910s, such as the Music League of the People’s Music Institute of New York, which was founded by Claire Reis. This thesis addresses the questions of how and why American musical modernism came to be as it was in the 1920s through an examination of the various stages of Reis’s career. The first chapter is an extensive study of primary source material gathered from the League of Composers/ISCM Records collection at the New York Public Library, which relates to Reis’s work with the PML in the 1910s. The second chapter uses the conclusions of the first chapter to shine new light on an …
Date: August 2013
Creator: Freeman, Cole
System: The UNT Digital Library
A Survey of the Solo and Chamber Works for Trumpet, Horn, Trombone, Euphonium and Tuba By the Hungarian Composer Frigyes Hidas (open access)

A Survey of the Solo and Chamber Works for Trumpet, Horn, Trombone, Euphonium and Tuba By the Hungarian Composer Frigyes Hidas

Hidas composed more than 135 compositions. Of these 135 compositions 67 feature the trumpet, horn, trombone, euphonium, and tuba in a solo setting, a homogenous chamber setting, or a heterogeneous chamber setting. The first section of this project presents the significance of the topic, state of research, and methodology. Chapter one provides a narrative detailing the collaboration of Hidas with Gusztáv Höna and László Szabó, Sr. Chapter two provides a brief description of characteristics found in Hidas' compositions. Appendix A and B provides a survey of the 67 works for brass instruments that Hidas composed. Included in this survey is information pertaining to the title, editor, publisher and date of publication, total measures, duration, ranges, degree of difficulty, clefs, special effects/techniques, instrumentation, dedications, analytical information, general comments, recordings, and rental details.
Date: August 2013
Creator: Gill, Jonathan B.
System: The UNT Digital Library
Yoichi Hiraoka: His Artistic Life and His Influence on the Art of Xylophone Performance (open access)

Yoichi Hiraoka: His Artistic Life and His Influence on the Art of Xylophone Performance

Yoichi Hiraoka was an amazing Japanese xylophone player who had significant influence on the development of the xylophone as a solo instrument. The purpose of this dissertation is to collect and record evidence of Mr. Hiraoka, to examine his distinguished efforts to promote the xylophone, to investigate his influences on keyboard percussion literature, and to contribute to the development of the art of keyboard percussion performance as a whole. This dissertation addresses Yoichi Hiraoka’s artistic life, his commissioned pieces, and his influence on the art of xylophone performance. Analyses of two of his most influential commissioned works, Alan Hovhaness’ Fantasy on Japanese Wood Prints and Toshiro Mayuzumi’s Concertino for Xylophone Solo and Orchestra, are also included to illustrate the art of the xylophone, and to explain why Hiraoka did not play all of his commissioned works.
Date: August 2013
Creator: Goto, Akiko
System: The UNT Digital Library
A Performance Guide to Bernd Alois Zimmermann's Trumpet Concerto, "Nobody Knows De Trouble I See" (open access)

A Performance Guide to Bernd Alois Zimmermann's Trumpet Concerto, "Nobody Knows De Trouble I See"

Bernd Zimmermann's Trumpet Concerto, "Nobody Knows de Trouble I See" is an important twentieth-century work for trumpet. Despite the stature of the composition, it has rarely been performed due to its considerable musical and technical demands. Integrating these diverse demands into a coherent performance requires careful consideration of the various performance practice consequences. The study begins by exploring the historical and musical context in which the work was written. It then considers the individual musical elements of the concerto. Finally, the study examines the performance practice implications of the work. The performance guide serves as a framework for making intelligent musical and technical decisions through context, analysis, and practical considerations.
Date: May 2013
Creator: Haley, Matthew
System: The UNT Digital Library
Innovations in Musical Texture and Aural Perspective: Steven Mackey's See Ya Thursday for Solo Marimba (open access)

Innovations in Musical Texture and Aural Perspective: Steven Mackey's See Ya Thursday for Solo Marimba

This dissertation and accompanying lecture recital explore the unique textural features in the works of Steven Mackey as exhibited in See Ya Thursday (1993).A rigorous formal, harmonic, and motivic analysis will highlight the compositional characteristics of textural structure and aural perspective that exist in the work. Illumination of these compositional elements can help to identify and minimize the technical complexities that exist within this piece for the performer. In addition, this document provides brief biographical information on Steven Mackey and his works, and on See Ya Thursday as it relates to other pieces in the advanced marimba literature. Finally, it is the aim of the author to add a resource to the relatively limited amount of research on Steven Mackey with this analysis of See Ya Thursday.
Date: August 2013
Creator: Hall, David Porter
System: The UNT Digital Library
“Sunken Monadnock”: a Composition for Flute, Clarinet, Bassoon, Violin, Violoncello, Electric Guitar, Piano, Percussion, Three Female Vocalists, and Computer (open access)

“Sunken Monadnock”: a Composition for Flute, Clarinet, Bassoon, Violin, Violoncello, Electric Guitar, Piano, Percussion, Three Female Vocalists, and Computer

Sunken Monadnock is a scripted combination of three modular musical surfaces. The word “surface” is borrowed from Morton Feldman, who compared the aural surface of music to the canvases of the action painters of the American Abstract Expressionists, and contrasted it with the work’s subject, or organizational structure. Composers’ transition toward a focus on surface through indeterminate compositional techniques, according to Feldman, parallels the development of modernist abstract art. “Sunken Monadnock: Composing with Visual Metaphors” is a companion critical essay that takes the surface/subject metaphor as a starting point for analyzing Sunken Monadnock.Other visual metaphors that inspired Sunken Monadnock, and are discussed in the essay, include Shakir Hassan Al Said’s mystical semiotics, Jasper Johns’s crosshatch prints, and Wassily Kandinsky’s theory of abstraction. The circle and spiral, especially, play influential roles in Sunken Monadnock as reflected by musical applications of repetition, rotation, compression/rarefaction, and endlessness. The void in the circle’s center also comes into play. The nature of the work’s formal counterpoint requires an innovative approach to the score, which consists of five sections, each of which reflects a different approach to the aural surface (i.e., to the traversal of time). The two outer sections are traditionally scored, but the three …
Date: December 2013
Creator: Harris, Joshua Kimball
System: The UNT Digital Library
Dario Castello's Music for Sackbut: the Sonate Concertate in Stil Moderno (1629) (open access)

Dario Castello's Music for Sackbut: the Sonate Concertate in Stil Moderno (1629)

Dario Castello's Sonate concertate in stil moderno is a collection of 29 trio sonatas in two volumes, with 10 of them employing the sackbut. These works represent a significant repertoire for the sackbut in an era where specific instrumentation was only starting to become a convention. While these pieces are often studied, performed and recorded in Europe, most American trombonists are not aware of their existence. This study seeks to acquaint the American trombonist with the sonatas of Castello and to provide performance suggestions for those less familiar with this genre. Chapter 1 presents a survey of the current literature on Castello. Chapter 2 provides an historical background for music in Venice in the early 17th century, while Chpater 3 focuses on the composer and his music for sackbut. Chapter 4 investigages the sonata in early 17th century Venice. Chapter 5 provides an insight into early baroque performance practice by discussing principles such as affect, tempo, ornamentation, diminution and articulation. Examples from the ten sonatas are used to illustrate these principles, providing the modern trombonist with a framework in which to study Castello's music. The final chapter discusses the implications of this study on the American trombone curriculum.
Date: May 2013
Creator: Hausback, Jason M.
System: The UNT Digital Library
“I Gotta Right to Sing the Blues”: Considering the Music of Harold Arlen (1905-1986) for Use by Female Singers in the Classical Voice Studio (open access)

“I Gotta Right to Sing the Blues”: Considering the Music of Harold Arlen (1905-1986) for Use by Female Singers in the Classical Voice Studio

American musical theater and film composer Harold Arlen is largely overshadowed by his contemporaries, such as George Gershwin, Irving Berlin, and Cole Porter. However, his music serves as a viable alternative for singers of all skill level studying a classical technique. By studying the music of Harold Arlen, singers will utilize a wide range, legato line, negotiations of register, mood shifts, and varying tessituras. The following document considers the importance of Arlen’s music by analyzing eight of his songs from three prominent decades of compositional output. The eight songs examined are grouped by the decade of their composition: the 1930s, 1940s, and 1950s. Each song is evaluated by determining the musical benefits included in each song and also the skill level required of the singer.
Date: August 2013
Creator: Hawk, Heather L.
System: The UNT Digital Library
Britten’s Op 47, Five Flower Songs: Breaking Trends in Analysis (open access)

Britten’s Op 47, Five Flower Songs: Breaking Trends in Analysis

Benjamin Britten’s life and music have been the subject of study from early in his musical career. Current trends in psychological analysis of Britten’s music tend to focus on common themes, such as homosexuality, pacifism, the sense of the outsider, and the loss of innocence. Similarly, theoretical analyses tend either to provide general categorizations of the technical elements in Britten’s music or to apply a singular preconceived concept as a tool for understanding his compositions. These approaches have yielded significant information but leave aspects of Britten’s personality and music unilluminated. Britten’s Op. 47, Five Flower Songs, are a collection of five part songs for a cappella chorus that are often included within the canon of 20th century choral literature. This paper examines a new perspective on Britten’s music by examining the relationship between Britten’s friendships and their influence on his compositions. Through the examination of these relationships information is revealed that allows for a new method of analysis that is particularly relevant to the Five Flower Songs. The opus was dedicated to two botanists for the occasion of their 25th wedding anniversary. Contained within specific movements are extra-musical references to scientific characteristics of the flowers that are the subjects of …
Date: August 2013
Creator: Jackson, Christopher Michael
System: The UNT Digital Library
Some Soundwalks (Denton, Tx) (open access)

Some Soundwalks (Denton, Tx)

some soundwalks (Denton, TX) is an audio portrait of the Denton square - the area in downtown Denton bordered by the streets Oak, Hickory, Elm, and Locust. For three months (June - August, 2012), I went on soundwalks in this area, recording the soundscape and collecting material from each hour of the twenty-four hours of the day. The resulting work is presented as a layered montage of this gathered material that takes the listener on a twenty-four hour journey through the Denton square in about eighteen minutes. Ultimately, this sonic portrait of the Denton square is my subjective reaction to the daily soundscape of an area of Denton that embodies a strong sense of tradition combined with a newer presence of a growing population.
Date: May 2013
Creator: Jackson, Jonathan
System: The UNT Digital Library
A Performer's Guide to Béla Bartók's Violin Concerto No 1, Opus Posthumous, 1907–1908 (open access)

A Performer's Guide to Béla Bartók's Violin Concerto No 1, Opus Posthumous, 1907–1908

Despite Bartók's lasting international fame, some of his works remain unjustly lesser-known. One of the pieces that still resides in relative obscurity is his Violin Concerto No.1—a gem of the violin repertoire that must be brought to the broader public's attention. The fact that the concerto was hidden definitely contributed to its little–known status at first. However, the most important cause for the lack of enthusiasm to tackle this terrific work lies in the unorthodox demands it puts on the violinist. The purpose of this paper is to provide musical and technical suggestions based on Bartók's performing style and on his requirements for performer, which will help to create a more persuasive interpretation of the piece. The guide covers the questions of character, articulation, dynamics, and other performance aspects, and also provides practical suggestions, such as fingerings and bowings. It is hoped that this study will help violin performers to gain additional knowledge and insight into this composition and encourage more frequent performances of it.
Date: August 2013
Creator: Jobbágy, Szemoke
System: The UNT Digital Library
Brass Band History and Idiomatic Writing in Brass Music (open access)

Brass Band History and Idiomatic Writing in Brass Music

The purpose of this research was to explore historical perspective of brass music. There is a brief history of brass bands in Britain. Furthermore, the paper examines the differences between two brass band pieces in the repertoire, A Western Fanfare by Eric Ewazen and Brass Symphony by Jan Koetsier. Both of these pieces were compared and contrasted against the author's newly composed work for brass, Two Companion Pieces for Brass Ensemble. The paper covers different techniques commonly used in brass writing and points these techniques out in all three pieces.
Date: May 2013
Creator: Kahler, Elyse T.
System: The UNT Digital Library
The Integration of Western Techniques with East Asian Philosophies in Isang Yun's Quartett Für Horn, Trompete, Posaune Und Klavier (open access)

The Integration of Western Techniques with East Asian Philosophies in Isang Yun's Quartett Für Horn, Trompete, Posaune Und Klavier

Korean composer Isang Yun (1917-1995) was one of the few successful Asian avant-garde composers to blend philosophical elements from East Asia with Western techniques such as the twelve-tone method, Hauptton, Hauptklang, and Umspielung. In addition to the integration of Western and Eastern influences, a significant feature of Yun´s compositional language, found throughout his oeuvre, is the application of East Asian philosophical tenets into his works. The purpose of this dissertation is to develop a greater understanding of Isang Yun's life and music, more specifically the Quartett für Horn, Trompete, Posaune und Klavier. The dissertation is divided into five chapters. The first chapter of the dissertation presents introductory data, including the purpose and significance of the study. The second chapter provides pertinent biographical facts about Isang Yun and his works, obtained through research of authoritative books, journal articles, and interviews. The third chapter offers references to traditional Korean brass instruments in terms of their historical background, structure, and timbre. In addition, it also focuses on the processes by which Yun incorporated the compositional techniques of Hauptton, Hauptklang, and Umspielung to the work and their relation to Tao philosophy. The fourth chapter consists of an analytical and stylistic study of the Quartett; …
Date: August 2013
Creator: Kim, Daewook
System: The UNT Digital Library