28 Matching Results

Results open in a new window/tab.

Examining the "Portfolio Careers" of Classical Musician Entrepreneurs through the Lens of Seven Clarinetists (open access)

Examining the "Portfolio Careers" of Classical Musician Entrepreneurs through the Lens of Seven Clarinetists

Many classically-trained clarinetists do not know how to use their performance skills and life experiences to create financially sustainable and artistically fulfilling musical opportunities. Music careers have traditionally included teaching positions in academia and performance positions in professional ensembles. Because of the limited number of jobs in these two areas, clarinetists, and classical musicians in general, often turn to work that provides financial security but may lack artistic fulfillment. The proposed solution to this situation is for musicians to create "portfolio careers," which is defined in this document as a combination of multiple part-time jobs to create full-time work. The purpose of this document was to examine best practices in creating and sustaining a portfolio career through the specific lens of seven clarinetists who have shown themselves to be successful performers and entrepreneurs. Results showed that the best practices include: 1) turn ideas into actions, even if the idea is still in the prototype stage, 2) build and utilize a network of successful and supportive people, 3) say "yes" to opportunities, and 4) find creative work outside the field of music that inspires music-related work.
Date: May 2019
Creator: Guzmán, Jen (Jennifer)
System: The UNT Digital Library

An Investigation of Multiple Articulation as Applied to Saxophone Literature and Its Performance: An Historical and Pedagogical Approach

Access: Use of this item is restricted to the UNT Community
Multiple articulation is a technique that is becoming commonplace in the saxophone literature. This study provides a detailed explanation of how produce the technique. Its application to saxophone literature is explored with musical examples and commentary by the author. A compilation of pedagogical viewpoints regarding multiple articulation from educators spanning the last century is provided.
Date: May 2019
Creator: Reséndez, Joey (José Luís)
System: The UNT Digital Library
Language Learning and the Trumpet: Correlations and Advantages of Utilizing Language Learning Techniques in Trumpet Practice and Instruction (open access)

Language Learning and the Trumpet: Correlations and Advantages of Utilizing Language Learning Techniques in Trumpet Practice and Instruction

The purpose of this document is to examine the effects of learning music similarly to the way humans learn language to answer the following questions: (1) what are the correlations between language learning and music learning? and (2) how can the ideals of language learning be used to maximize the effectiveness of the music learning process? To achieve this, the stages of language acquisition is examined alongside Edwin Gordon's skill learning sequence to draw comparisons between the music and language learning processes. Examined materials include common beginning band method books and trumpet-specific materials. Common problems public school educators face, as well as solutions to those difficulties are addressed. The solutions are concepts inspired by the language learning process that can be utilized to maximize the learning at both the beginning and advanced stages of learning. A beginner level piece ("Lyra" from Trumpet Stars by H.A. Vandercook) and an advanced level piece ("Danse" from Incantation, Threne, and Danse by Alfred Desenclos) are examined thouroughly with these ideals in mind. In order to maximize results of the music learning process, incorporation of language acquisition ideals is necessary not only at the beginning of one's musical journey, but also into the later years …
Date: May 2019
Creator: Lankford, Jacquelyn, 1992-
System: The UNT Digital Library
Latin American Fusion: An Analysis of U.S. and Latin American Musical Styles and their Synthesis Exhibited in "The Cape Cod Files" by Paquito D'Rivera (open access)

Latin American Fusion: An Analysis of U.S. and Latin American Musical Styles and their Synthesis Exhibited in "The Cape Cod Files" by Paquito D'Rivera

This document focuses on background and performance practice of various musical styles encountered in Paquito D'Rivera's The Cape Cod Files. More specifically, the musical styles examined include: boogie-woogie, Argentine milonga, classical and popular Cuban music, American twelve-bar blues, contemporary atonal music, and Cuban danzón. A brief biography of Paquito D'Rivera is included to establish context of the composer's musical background. Each chapter examines one of the four movements and the musical styles found within that movement. A brief history of each musical style is provided to inform appropriate performance practice decisions.
Date: May 2019
Creator: Willsie, Lucas
System: The UNT Digital Library
An Overview and Performance Guide to Johannes Möller's "Shenandoah Fantasy for Two Guitars" (open access)

An Overview and Performance Guide to Johannes Möller's "Shenandoah Fantasy for Two Guitars"

Johannes Möller's 2014 composition Shenandoah Fantasy for Two Guitars, is a theme and variations on the American folksong Oh Shenandoah and is the composer's only work dedicated to American music. An informed performance of this work requires biographical information. Since no scholarly work on this composer is currently available, this paper includes Möller's biographical information, compositional background and performance suggestions. This information was acquired through a recorded video interview with the composer that covered his early education as a guitarist and composer, his formal conservatory training, career accomplishments, influences that informed the piece, and suggestions for performance practice. The insight gained through this interview reveals its main influences as the Romantic Fantasy, American Minimalism, Keith Jarret's harmonization of Oh Shenandoah, American country and bluegrass music, and the sounds of American folk instruments. These are the subjects of the body of this paper. In addition to an overview of some scholarly writing on the styles which influence the piece, some solutions are offered at the end of the paper to aid in the performance of difficult passages. The intent of these solutions is to make the piece easier for the left and right hand, without sacrificing those musical elements that represent …
Date: May 2019
Creator: Douglas, Charles William
System: The UNT Digital Library
An Overview and Performance Guide to the 10 Etudes for Guitar by Giulio Regondi (open access)

An Overview and Performance Guide to the 10 Etudes for Guitar by Giulio Regondi

The 10 Etudes for Guitar by Giulio Regondi represent the pinnacle of technical achievement for nineteenth century guitar performance. Dense textures, large stretches, fast scales and arpeggios, and obscure modulations are used in combinations that were unrivalled among his contemporaries. The etudes were not published until the late twentieth century and have not had generations of guitarists solving their challenges and teaching them to younger generations of students. Right-hand fingerings are virtually non-existent in published versions, but a thorough study of period sources yields several strategies; examples from each etude are provided. Modern right-hand scale philosophy, such as playing scales with "a," "m," and "i" in the right-hand are addressed and further example provided to give players several solutions to choose from. Right-hand fingering implies articulation and several interpretations are analyzed for each etude where they exist. Left-hand fingerings are sporadically present in modern editions but are often lacking in the most difficult passages. Stretching techniques from other string instruments can be applied to the guitar and one technique in particular can be applied to the most difficult stretches in Regondi in numerous instances. For some of the most challenging textures several solutions are given. The etudes of Regondi can …
Date: May 2019
Creator: Lochbaum, Stephen
System: The UNT Digital Library

A Pedagogical Guide to the Piccolo Trumpet

Access: Use of this item is restricted to the UNT Community
The modern piccolo trumpet is required by professional trumpet players for the performance of solo repertoire, chamber music, orchestra, and wind band. Students in universities around the world study the piccolo trumpet in preparation for professional careers, but relatively few pedagogical tools exist to specifically focus on the nuanced techniques of the instrument such as articulation, range, and sound production. The purpose of this project is to create a pedagogical guide that can serve as a method for students learning the modern piccolo trumpet.
Date: May 2019
Creator: Goldman, Casey
System: The UNT Digital Library
Practical Considerations for Euphonium Players Doubling on Tuba (open access)

Practical Considerations for Euphonium Players Doubling on Tuba

There is currently a great deal of information available to euphonium players who double on trombone, but far less for euphonium players who double on tuba. This dissertation takes information gathered from many top euphonium/tuba doublers, including: Benjamin Pierce, D.M.A., Aaron Tindall, D.M.A., Gail Robertson, D.M.A., Gretchen Renshaw James, D.M.A., Matthew Murchison, D.M.A., Matthew Shipes, D.M.A., Matthew Tropman, D.M.A., and Keith Kile, and presents a synopsis of their thoughts/reflections on tuba doubling. This dissertation is designed to aide euphonium players in the process of learning tuba, enabling them to be as efficient as possible with both their time and money throughout the process. Topics covered include: difficulties unique to the euphonium/tuba double and approaches to overcome them, similarities and differences between euphonium and tuba playing (from the perspective of euphonium/tuba doublers), "reverse" benefits of euphonium/tuba doubling on the primary instrument, literature recommendations for euphonium/tuba doublers, and equipment considerations for euphonium/tuba doublers.
Date: May 2019
Creator: Kenney, Vince
System: The UNT Digital Library
Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor (open access)

Prokofiev's Eclectic Approach in his Violin Concerto No. 2 in G Minor

Prokofiev had a specific approach to the modernist aesthetic that is worthy of a special study from a new perspective: eclecticism. There are two distinguishable views on his achievement in modern music. One is the Western version, which sees his eclectic approach as not innovative enough in comparison with modern composers such as Stravinsky. The other view is from the traditional Soviet approach, which holds Prokofiev in the highest esteem. These sources largely ignore Prokofiev's Paris and American periods. Such an oversimplification is likely to have reflected political circumstance. Neither the Western view nor the Soviet view provides a satisfying interpretation of Prokofiev's musical style. Therefore, understanding his eclectic approach is important to challenge and redefine our notion of Prokofiev's musical aesthetic. This dissertation examines Prokofiev's eclectic approach in his Violin Concerto in G minor with a combination of historical research and historically informed style analysis. The historical research is mainly based upon current interpretations of Prokofiev's musical style. The two contrasting views (Western and Soviet) on Prokofiev's contributions to modern music are equally lacking in objectivity due to their entrenchment in political rhetoric. Therefore, to have a more precise interpretation of Prokofiev's concerto, historically informed analysis is used to …
Date: May 2019
Creator: Yan, Jishuang
System: The UNT Digital Library
The Saxophone Music of Pierre-Philippe Bauzin: A Survey of Original Compositions and Rediscovery of Lost Works (open access)

The Saxophone Music of Pierre-Philippe Bauzin: A Survey of Original Compositions and Rediscovery of Lost Works

Pierre-Philippe Bauzin (1933-2005) was a skilled keyboard performer, improviser, and composer. By way of his close personal friendship with renowned saxophonist Jean-Marie Londeix, Bauzin began dedicating, composing, and often times performing music for saxophone with Londeix, beginning in 1959. The results of this friendship produced eleven original works for saxophone with diverse instrumentation, ranging from solo compositions to large ensembles. Due to Bauzin's preference for improvising the piano accompaniments of his music on each performance, however, a majority of his compositions were thought to be incomplete or lost. This study surveys Bauzin's complete opus for saxophone by way of both his published works, and the author's rediscovery of the manuscripts to these previously assumed lost compositions for saxophone. The pieces studied are Sonata no. 1 (1959), Poème (1960), Cinq Pièces Breves en Forme de Musique (1960), Esquisses (1967), Divertimento (1968), and Quatuor no. 1 (1962). In addition, chapter 8 provides information regarding other compositions for saxophone by Bauzin that did not survive in their completed form. The survey of each work contains information pertaining to creation, performances of significance in saxophone history, and compositional techniques present within each work that can be used to identify the components of Bauzin's unique …
Date: May 2019
Creator: Murphy, Sean (Saxophonist)
System: The UNT Digital Library
The Semantics of the Motives and Linear Voice Leading in the First and Second Movements of Korngold's Violin Concerto, Op. 35 (open access)

The Semantics of the Motives and Linear Voice Leading in the First and Second Movements of Korngold's Violin Concerto, Op. 35

This dissertation aims to examine the motivic voice leading of the first two movements of Korngold's Violin Concerto, Op. 35 to illuminate the interwoven motives within the underlying structures of the movements. The analysis principally concentrates on two main motives: the motivic tritone and rising-third motives. Moreover, the analysis of Korngold's motivic writing further investigates the semantics that are evoked by the technical aspects. With his exceptional ability to interconnect music to narratives both in operas and films, Korngold never ceased to express the recurring themes of love and revival also in his instrumental music. It is noteworthy that he borrowed only the "love themes" from his film scores for the first two movements of the violin concerto. The violin concerto was the first work written after Korngold returned to absolute music after a decade of composing for films to ensure his and his family's survival during the war. After the Anschluss, during his exile in California as a Jewish refugee, Korngold's love for his homeland Austria, his philanthropic concern for humanity, and longing for peace became his primary focus; these concerns are reflected in his Violin Concerto through his use of specific motives. By researching the historical and biographical …
Date: May 2019
Creator: Hong, Dayeon
System: The UNT Digital Library
Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes (open access)

Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes

Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiphonics and right hand technique), rhythmic complexity (including metric modulation, non-dyadic meters, additive rhythms, and nested tuplets), and unconventional notations (graphic, spatial, and other temporal notations). This document first surveys the challenges of the repertoire in question, which includes works by György Ligeti, Thea Musgrave, Milton Babbitt, Brian Ferneyhough, Iannis Xenakis, Heinz Holliger, and Douglas Hill, among others. After considering the merits and limitations of existing pedagogical materials that work towards these ends, the document then underlines a strategic pedagogical goal for understanding and approaching unconventional contemporary repertoire through newly-composed etudes. This document is written in conjunction with and justification for the author's 24 Unconventional Etudes for Horn, and includes examples therefrom.
Date: August 2019
Creator: Hessel, Eric
System: The UNT Digital Library
An Analysis and Performance Guide of Selected Works for Saxophone by Cuban Composers Jorge Luis Sosa and Andrés Alén-Rodriguez (open access)

An Analysis and Performance Guide of Selected Works for Saxophone by Cuban Composers Jorge Luis Sosa and Andrés Alén-Rodriguez

A large portion of the standard repertoire for saxophone and piano has already been recorded and performed many times and has received significant scholarly study. For a performer, remaining relevant requires learning and performing new compositions. Jorge Sosa and Andrés Alén are both accomplished composers, yet outside of the Latin-American community they remain virtually unknown to most saxophonists. This project serves as an introduction to both composers. Combined, Sosa and Alén have nine compositions for saxophone. Their works include saxophone quartets, saxophone and piano, and saxophone quartet with choir. This study focuses on three compositions: La Zacapaneca by Sosa, Tema con Variaciones and Sonata para Clarinete ó Saxofón Soprano y Piano, both by Alén. Compositional background information is given about each composition to include date of composition, premiers, important recordings, length of performance and Cuban ethnic and traditional elements used as the basis for rhythmic and thematic ideas. The Cuban and Afro-Cuban influences are explained in further detail pertaining to how they were used in the construction of the works and in their being performed stylistically correctly. Dynamics, articulations, and performance considerations are studied at length.
Date: August 2019
Creator: Friel, Stephan
System: The UNT Digital Library

Beyond Nothingness: A Broader Nihilism in Cinema Paradiso by Stephen Goss

Access: Use of this item is restricted to the UNT Community
Stephen Goss composed Cinema Paradiso, a six-movement suite for solo guitar, as an homage to films and film directors. Goss cites nihilism as a theme in Dogville, the film that inspires the fourth movement, "Mandalay," but I assert that all the films and many musical devices throughout the piece can be read through the lens of nihilism. The first movement, "Paris, Texas," depicts the stark landscape of the opening scene of the 1984 Wim Wenders film of the same name. "Modern Times" chronicles Charlie Chaplin's slapstick-laden descent from the factory to the insane asylum in the opening sequence of his 1936 Modern Times. "Noir" is a tribute to the procedures of film noir: violent storylines that depict the harshness of life, dim lighting, and anti-hero characters, all accompanied by jazz. Lars von Trier's Dogville provides the movement "Mandalay" with its nihilistic meaning, but Goss writes that he invokes the musical style of Kurt Weill's opera The Rise and Fall of the City of Mahagonny. Just as the book people of François Truffaut's Fahrenheit 451 had to pass on books orally, Goss has burned the score for his "451," forcing guitarists to learn it by watching a video and listening to …
Date: August 2019
Creator: Kyzer, Dan
System: The UNT Digital Library
Crystal Clear: A Performance Guide and Electronic Accompaniment of Mario Lavista's Marsias for Oboe and Crystal Glasses (open access)

Crystal Clear: A Performance Guide and Electronic Accompaniment of Mario Lavista's Marsias for Oboe and Crystal Glasses

Mario Lavista (b. 1943) is a dominant figure in Mexican classical music. In the second half of the twentieth century, he promoted the use of contemporary techniques, leading to a series of collaborations with expert instrumentalists to explore extended techniques. Marsias for Oboe and Crystal Glasses is one of those pieces. Due to the nature of contemporary techniques, different oboes and reed styles produce different effects with the same fingerings. This document analyzes the contemporary fingerings in the two published editions of the work in consideration of the long-scrape reed style and oboes commonly used in the United States. The contemporary techniques were played on twelve professional oboe models as a way to collect data on how the printed fingerings work. The data is the foundation for the performance guide, which details every contemporary technique in the work. The performance guide also provides comprehensive information about the crystal glass logistics. The document also presents an electronic accompaniment created with Max/MSP in the event that the crystal glasses or crystal glass players are unavailable.
Date: August 2019
Creator: Thompson, Jonathan (Oboist)
System: The UNT Digital Library
A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms (open access)

A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms

The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its …
Date: August 2019
Creator: McConnell, Michael (Woodwind instrument player)
System: The UNT Digital Library

Luigi Boccherini's Cello Concerto in B-Flat Major, G.482: Creating a Performance Edition through a Critical Study of the 'Original' Version and Friedrich Grützmacher's Edition

Access: Use of this item is restricted to the UNT Community
The Cello Concerto in B-flat major, G.482, by Italian composer Luigi Boccherini (1743-1805), is the composer's most beloved work for the instrument, as well as one of the most performed pieces in the Classical concerto repertoire. Historically, cellists performing this work have used an edition prepared by German cellist Friedrich Grützmacher (1832-1903). However, an 'original' version that was discovered in 1949 is significantly different from that of Grützmacher. A comparison of both editions has revealed that Grützmacher in fact made considerable modifications to Boccherini's 'original.' Along with the issue of having two editions, cellists that have played the 'original' edition have noted that there are certain practical and interpretative matters that are not favorable to the cellist, particularly in terms of the way the music is notated and how it lacks many details. This dissertation provides clarity to these issues by undertaking a comprehensive analysis of both editions in order to make cellists become aware of the differences between both editions by comparing musical elements from a performance practice viewpoint. In addition, I discuss relevant issues that are present in the 'original' version, ultimately providing an alternative performance edition to this score that is based on historically informed performance (HIP) …
Date: August 2019
Creator: Cho, Hyun Mi
System: The UNT Digital Library
Oration, Concerto Elegiaco by Frank Bridge: A Practical Guide for Performance (open access)

Oration, Concerto Elegiaco by Frank Bridge: A Practical Guide for Performance

English composer Frank Bridge (1879-1941) is well known as Benjamin Britten's teacher and to a lesser degree for his chamber music. Because his mature creative period occurred between the First and Second World War, his works were not well studied or performed until the 1970s, well after his death. This dissertation discusses Bridge's life and his music, how World War I affected in this work, and specifically the work Oration Concerto Elagiaco. Oration is considered historically in terms of its meaning and delayed premiere. Additionally, the work's fantasy arch form, Bridge's signature compositional style, and the character of each section is discussed. Finally, this dissertation provides a practical guide to the work, providing practice and performance suggestions for the numerous complex and technically challenging portions of the concerto.
Date: August 2019
Creator: Yoo, Kyungjin
System: The UNT Digital Library
A Pedagogical Guide to Brass Quintet Repertoire for the Trumpet (open access)

A Pedagogical Guide to Brass Quintet Repertoire for the Trumpet

In today's rapidly changing performing arts market, trumpet players are required to be more versatile than ever. Trumpet performing jobs are diversifying and for a trumpeter, employment often requires the multi-faceted skill set that includes the ability to perform in all styles and settings ranging from jazz to classical, solo to large ensemble and brass quintet. As the demand for the brass quintet medium has grown, the study of chamber music repertoire has also become a common requirement in collegiate music programs. However, coaching in chamber music is limited, sometimes to as little as one hour per week. This coaching time is generally in the format of a single coach instructing the full chamber group, and therefore one-on-one instruction/attention is limited or nonexistent, leaving the onus of learning on the students, for whom these collegiate chamber music ensembles are their first exposure to the medium. While students have ample access to concentrated instruction for orchestral, band, and opera excerpts through the multitude of existing excerpt books, such a resource for trumpet players learning brass quintet repertoire does not yet exist. The purpose of this project is to create a succinct guide to the performance of the trumpet parts of standard …
Date: August 2019
Creator: Bailey, Megan (Trumpeter)
System: The UNT Digital Library
A Survey of Solo, Chamber Music and Orchestral Excerpts Selected and Organized Pedagogically for the Intermediate Cellist (open access)

A Survey of Solo, Chamber Music and Orchestral Excerpts Selected and Organized Pedagogically for the Intermediate Cellist

The use of orchestral excerpts from standard music repertoire as a pedagogical means has been adopted by many instrumental pedagogues to train the advanced instrumentalist. This dissertation presents an innovative idea among the excerpt tradition by drawing excerpts from solo, chamber music and orchestral music to function as etudes for the intermediate level cellist. 320 music excerpts are drawn and organized under the headings of different technical categories in order to train the techniques within the context of quality music. The purpose of the dissertation is to introduce the young player to the concept that techniques and musical expression are not two separated entities, rather, techniques serve as a medium to convey the music.
Date: August 2019
Creator: Zhou, Lejing, 1986-
System: The UNT Digital Library
Through His Own Words: An Exploration of the Pedagogy of Robert Marcellus (open access)

Through His Own Words: An Exploration of the Pedagogy of Robert Marcellus

This dissertation presents the clarinet pedagogy of Robert Marcellus through reorganizing, documenting, and consolidating the archival recordings of summer master classes held at Northwestern University from 1977-1990. Pedagogical discussions and exercises are examined on topics such as wind, articulation, hand and finger position, and phrasing. Marcellus' interpretation and comments are discussed, along with musical examples from Cyrille Rose's 40 Studies for Clarinet, numbers 13, 21 and 32. This dissertation contains Marcellus' repertoire list and a sequence of study. Through this examination and consolidation of Marcellus' own words, this dissertation serves as a unique resource for those clarinetists interested in learning about this distinguished pedagogue.
Date: August 2019
Creator: Bronson, Karen Andreas
System: The UNT Digital Library
Tommy Smith's Two Sonatas, "Hall of Mirrors" and "Dreaming with Open Eyes": A Performance Guide and Analysis (open access)

Tommy Smith's Two Sonatas, "Hall of Mirrors" and "Dreaming with Open Eyes": A Performance Guide and Analysis

Tommy Smith is considered by many to be one of the greatest jazz saxophonists not only in Scotland, but world-wide. Celebrated for his virtuosic performance skills, tremendous compositions, and prized albums in the jazz idiom, Smith has also had great success as a composer and performer of the classical genre. Fusing the styles of jazz and classical, he composed and recorded two sonatas, entitled, Sonata No. 1 - Hall of Mirrors and Sonata No 2. - Dreaming with Open Eyes, on his 1998 album, Gymnopédie: The Classical Side of Tommy Smith. Unique pieces, they are not considered standard repertoire in the classical saxophone world, however, they are welcomed, substantial works for either the soprano or tenor saxophone and piano. Composed in a classical style and performed with jazz inflections and improvisation, these sonatas are challenging pieces to learn and execute at a high level. For many classical saxophonists, improvising a cadenza or utilizing standard jazz performance techniques could dissuade them from performing these terrific, distinctive works. This study is intended to aid in the learning and presentation of these two pieces, and includes transcriptions from Tommy Smith's album, errata, and performance analyses for each sonata.
Date: August 2019
Creator: Dunbar, Sarah
System: The UNT Digital Library
Transcription and Critical Edition of Carl Nielsen's Songs, Op. 4 and 10 for Flute and Piano (open access)

Transcription and Critical Edition of Carl Nielsen's Songs, Op. 4 and 10 for Flute and Piano

Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the reception history and context of Nielsen's Songs, the important role of transcription in flute literature, and provide full score transcription of the original works for flute and piano. Many vocal works have been transcribed for flute from the original vocal score, providing variety in programming and attracting diverse audiences to performances. Transcription offers scholars a new view into a work, by determining what elements of the piece are integral to maintain the composer's intentions.
Date: August 2019
Creator: Pillman, Laura, 1990-
System: The UNT Digital Library
"Homage to Nancarrow" from "Estudios de Frontera for 5 Percussion Players" by Alejandro Viñao: A Rhythmic Analysis and Performance Practice Guide (open access)

"Homage to Nancarrow" from "Estudios de Frontera for 5 Percussion Players" by Alejandro Viñao: A Rhythmic Analysis and Performance Practice Guide

The Peabody Conservatory commissioned Estudios De Frontera by Alejandro Viñao in 2004. Percussionist Robert Van Sice initiated the commissioning process. Estudios De Frontera is the first composition for percussion ensemble by Viñao. Viñao's Estudios is written in two movements. The first is titled Homage to Nancarrow. As the title implies the compositional processes are directly influenced by Conlon Nancarrow. The composer states: "Homage to Nancarrow is concerned with the perceptual illusion of multiple simultaneous speeds or tempi....This movement explores the type of rhythms that create the illusion that multiple independent tempi are being heard while remaining playable by musicians." The purpose of this document is to provide a rhythmic analysis describing the techniques used by Chopin, Ligeti, and Nancarrow, and demonstrating their manifestation in the first movement of Alejandro Viñao's Estudios de Frontera. The analysis provides detailed information in regards to Nancarrow's rhythmic structures including: ostinato, hemiola, isorhythm, accelerations, and implied poly-tempo. Additionally, by seeking advice from notable performers and ensembles, the areas of greatest concern are identified, and strategies towards rehearsal and performance are recommended. The performance guide is included as an appendix to the analytic body of the paper.
Date: December 2019
Creator: Kilgore, Matthew Ryan
System: The UNT Digital Library