Doctoral Recital: 2014-02-25 - Michael McConnell, multiple woodwinds
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- Gabaye: Sonatine pour clarinet et piano, I. Allegro 0:03:20
- Gabaye: Sonatine pour clarinet et piano, II. Largo 0:05:12
- Gabaye: Sonatine pour clarinet et piano, III. Prestissimo 0:04:27
- Riepe: Three Studies on Flight for solo clarinet, 1. Your laughter frees me and lends me wings 0:02:24
- Riepe: Three Studies on Flight for solo clarinet, 2. I wandered lonely as a cloud 0:03:52
- Riepe: Three Studies on Flight for solo clarinet, 3. Wild spirit...moving everywhere 0:03:04
- Dahl: Concerto for alto saxophone and wind orchestra, I. Recitative 0:04:56
- Dahl: Concerto for alto saxophone and wind orchestra, II. Passacaglia 0:07:18
- Dahl: Concerto for alto saxophone and wind orchestra, III. Rondo alla marcia 0:06:60
- Kechley: Rush 0:05:28
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College of Music Program Book 2013-2014: Student Performances, Volume 1 (Book)
Student performances program book from the 2013-2014 school year at the University of North Texas College of Music.
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A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms (Thesis or Dissertation)
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 underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.
A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms - ark:/67531/metadc1538725
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Doctoral Recital: 2014-02-25 - Michael McConnell, multiple woodwinds, audio recording, February 25, 2014; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc917134/: accessed June 5, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; crediting UNT Music Library.