A musical composition in three movements was written for two classical guitars and an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, percussion (four timpani, four tom-toms, bass drum, two suspended cymbals, triangle, glockenspiel, marimba) and strings. The duration of the Concerto is approximately 27 minutes and 30 seconds. / Source: Dissertation Abstracts International, Volume: 50-08, Section: A, page: 2298. / Major Professor: Roy Johnson. / Thesis (D.Mus.)--The Florida State University, 1989.

The Chamber Symphony is scored for flute/piccolo, clarinet/bass clarinet, piano, percussion, violin, and violoncello. It is cast in one continuous movement. There are three large sections, fast-slow-fast, which interpenetrate each other throughout the course of the work. / The composition is serial, built on rows of 7, 49, and 2401 notes. In addition to pitch material, serial techniques are also applied to the area of rhythm. / The Chamber Symphony is approximately 20 minutes in length. / Source: Dissertation Abstracts International, Volume: 50-06, Section: A, page: 1475. / Major Professor: Roy H. Johnson. / Thesis (D.Mus.)--The Florida State University, 1989.

The Concerto for Tuba and Wind Orchestra was composed in 1987-88 at the request of Timothy J. Northcut. The instrumentation of the work includes the following: piccolo, C flute, oboe, bassoon, E-flat clarinet, B-flat clarinet, E-flat alto clarinet, B-flat bass clarinet, E-flat contrabass clarinet, alto sax, tenor sax, baritone sax, B-flat trumpet, F horn, trombone, euphonium, tuba (aside from the soloist), string bass, piano, celeste, glockenspiel, chimes, xylophone, vibraphone, snare drum, bass drum, crash cymbals, suspended cymbal, tam tam, tomtoms, triangle, and timpani. / The work is cast into three large movements which follow without pause. The first movement, set in two parts, begins with a slow introductory section which exposes a chant like motive. This motive, played by the solo tuba, is the germinal idea for the entire work. The second portion of this movement (allegro) is set in a type of sonata-rondo form, ending the way in which it began, with music from the slow introduction. The second movement is in itself a large development, gleaning its main motive from the C theme of the previous movement, climaxing in a cadenza for the soloist. The final movement, based on the sonata form, serves not only to further develop the opening chant motive, but also to interweave all previous motives into its fabric. The work ends with the chant motive in a triple canon. / The harmonic language of the concerto is tonal. Many of the harmonies reflect the melodic nature and intervallic content of the chant motive. Even though polyharmonies frequently occur, each movement is set in a specific key center. The duration of the concerto is approximately 27 minutes. / Source: Dissertation Abstracts International, Volume: 50-02, Section: A, page: 0290. / Major Professor: John Boda. / Thesis (D.Mus.)--The Florida State University, 1988.

This study is an analytical survey of the known original clarinet concertos with wind accompaniment, written by American composers between January 1, 1978, and December 31, 1987. The accompanying wind groups were classified as either a symphonic band, wind ensemble, jazz ensemble, or any chamber ensemble which requires a conductor. Excluded were arrangements, transcriptions, and solo works with percussion ensemble. The twenty works located consisted of thirteen concertos with symphonic band or wind ensemble, three concertos with jazz ensemble, two concertos with a mixed chamber group of winds and solo strings, one concerto with clarinet choir, one double concerto for clarinet and saxophone with wind ensemble, and one triple concerto for clarinet, piano and string bass with a mixed chamber ensemble. / The concertos were analyzed to determine the general stylistic, theoretical, technical, and musical characteristics which would provide a potential soloist or conductor with concise and accurate information to assist in determining the practicality of a performance. A brief biography of each composer was compiled using published information and biographical data supplied by the composer. / The concertos represent a wide diversity in musical styles ranging from very conservative tonal writing through the most current contemporary techniques. The works vary in performance difficulty from those written for average high school performers to those composed for professional level artists. / There appears to be a strong interest among American composers to write concerted works for clarinet and winds, as evidenced by a significant increase in the number of concertos written in the surveyed ten-year span as compared to any previous decade since 1900. / Source: Dissertation Abstracts International, Volume: 51-12, Section: A, page: 3949. / Major Professor: Frank Kowalsky. / Thesis (D.M.)--The Florida State University, 1990.

Closure is traditionally understood primarily in terms of repose, harmonic cadence, and tonal stability. Viewed thusly, how closure, or arrival at stability, might be evidenced in twentieth-century works employing novel formal processes not abandoning the tonal concept altogether presents difficulties. This thesis (1) looks afresh at cadence and musical closure, (2) performs an analysis of Copland's published Sextet, seeking the means by which its cadential articulations express closure, and (3) correlates findings with evidence taken from the manuscript scores for the Sextet and its original version, the Short Symphony. Moreover, conclusions are devoted in part to aesthetic observations. / The term cadential closure is used to describe closure which occurs on particular structural levels when a melodic, harmonic, or rhythmic goal of a phrase or section is reached. In the Sextet, a discovered connection exists between the work's cadential language and tonal universe and the first movement's motivic cell highlighting a pitch against its dominant. / Source: Masters Abstracts International, Volume: 27-04, page: 0426. / Thesis (M.M.)--The Florida State University, 1989.

This treatise presents an annotated list and survey of Icelandic violin music, including works for solo violin, violin and piano, violin and tape, and violin and orchestra. No prior list exists on this subject, thus leaving many works in oblivion. / The compositions are organized alphabetically by the composers' last names. Included is a brief analysis of the compositional style, a description of the required violin technique, and musical characteristics of the work, thus assisting a violinist and/or a violin teacher in evaluating a work for study and performance. A short biography of the composer follows the annotation. At the conclusion of the treatise are five appendices: a list of addresses useful in obtaining the works or doing further research; a categorization of the works by medium, by difficulty, and by date of composition; and finally a complete list of works, in alphabetical order by composer, up to the fall of 1994 (including those works which could not be annotated due to lack of availability). / The seventy violin compositions by thirty-six composers exhibit a strong interest among Icelandic composers in writing for the violin. During the last few decades this interest has been aroused by the increased abilities of Icelandic violinists. The works vary in performance difficulty from those written for the early stages of study to those composed for an artist level, and represent a diversity of musical styles that reflects the variety in educational background of the composers. / Source: Dissertation Abstracts International, Volume: 56-10, Section: A, page: 3786. / Major Professor: Karen Clarke. / Thesis (D.Mus.)--The Florida State University, 1995.

Afro-American musicians have made significant contributions to the field of classical music beginning as early as the Baroque period. Twentieth-century Afro-American composers who write for the orchestra are continuing the historical tradition of their predecessors. / The purpose of this study is two-fold: (1) to develop a sourcebook which explores the contributions of four selected twentieth-century Afro-American composers: William Grant Still, Howard Swanson, Ulysses Kay, and Olly Wilson; and (2) to provide a perspective through which scholars and educators may become more aware of orchestral compositions by these composers and explore musical and philosophical influences on the composers, particularly those arising from ethnic heritage. / Literature considered relevant to this study can generally be assigned to one of four categories: (1) the ethnic heritage of Afro-American music in the United States; (2) Afro-American composers of instrumental music before 1900; (3) Afro-American music in the United States after 1900; and (4) the status of Afro-American classical composers in the United States during the twentieth-century. / Examination of selected works includes, but is not limited to, the kinds of analytical procedures appropriate for similar styles of European concert music. The descriptive analysis of each composition includes examination of the relationships present within and among the various musical elements of the work. Examination for possible presence of ethnic musical traits and influences is integrated into the total descriptive analysis procedure. The selected orchestral works represent the composers' highest level of achievement in composition and illustrate the diversity of styles which exist among orchestral repertoire composed by these four twentieth-century Afro-American musicians. / Source: Dissertation Abstracts International, Volume: 49-07, Section: A, page: 1616. / Major Professor: Colleen Kirk. / Thesis (Ph.D.)--The Florida State University, 1988.

This dissertation considers the life and music of Richard Danielpour (b. 1956) and how they intersect with the issues of commercialism, accessibility, popularity, and originality in twentieth- and twenty-first century American art music. It also explores Danielpour's motivations for composing and the position of his music in American culture within the context of the changes that have occurred–particularly in the last twenty to thirty years–in the criteria for assessing musical value and meaning in American high art. Much of the music being written and performed well into the third quarter of the twentieth century was completely unintelligible to a majority of concert goers, and a huge gap had developed between classical composers and their public. Richard Danielpour is one of many composers in the late twentieth- and early twenty-first centuries who have sought to bridge that gap, in part by aligning themselves with the tradition of writing music that is emotionally evocative and musically valid. Danielpour's concern for reaching his audience underscores his sincere desire to be appreciated artistically and understood intellectually. Danielpour writes in an accessible, neo-romantic style that embraces tonality despite frequent dissonances. Some critics suggest that he borrows too much from others, but his music possesses many distinctive qualities. In addition, Danielpour's detailed programs help listeners relate to music that they might not otherwise understand. Of the ten recordings of his music, the Pittsburgh Symphony's CD of his Concerto for Orchestra was nominated for a Grammy in the category of "classical contemporary composition." Yo-Yo Ma's recording that included Danielpour's first cello concerto won three Grammies. Frequent commissions from major orchestras and well-known soloists indicate the degree of popularity that Danielpour has achieved in the classical musical world. Although this may not equal the commercial success of pop composers, Danielpour can still be considered financially successful: in an age when many contemporary composers struggle to be heard at all, Danielpour's compositions receive multiple performances here and abroad. / A Dissertation submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Degree Awarded: Doctor of Philosophy Fall Semester, 2004. / Date of Defense: October 29, 2004. / Danielpour, 21st Century classcial musicm orginality in American high-art music / Includes bibliographical references. / Denise Von Glahn, Professor Directing Dissertation; Neil Jumonville, Outside Committee Member; Charles Brewer, Committee Member; Carolyn Ann Bridger, Committee Member.

Source: Dissertation Abstracts International, Volume: 40-06, Section: A, page: 2976. / Thesis (Ph.D.)--The Florida State University, 1979.

Source: Dissertation Abstracts International, Volume: 40-06, Section: A, page: 2977. / Thesis (D.Mus.)--The Florida State University, 1979.