Recital document

dc.contributor.advisorSilantien, John
dc.contributor.authorVarville, Colin
dc.contributor.committeeMemberMabry, Gary
dc.contributor.committeeMemberDill, Susan
dc.date.accessioned2024-03-08T15:58:12Z
dc.date.available2024-03-08T15:58:12Z
dc.date.issued2016
dc.descriptionThis item is available only to currently enrolled UTSA students, faculty or staff. To download, navigate to Log In in the top right-hand corner of this screen, then select Log in with my UTSA ID.
dc.description.abstractThe purpose of this document was to provide an in-depth study of selected works performed on my graduate conducting recital. The first chapter discusses how Johannes Brahms's early experience with women's choruses influenced him as a composer. The second chapter demonstrates Michael Haydn's use of stile antico and stile moderno in three of his works. Chapter three explores Libby Larsen's approach to text setting and how the text of her work Today, This Spring informed her compositional choices. The final chapter illustrates Guillame de Machaut's use of dissonance in his motet Amour qui ha le pouoir/Faus Samblant/Vidi Dominum.
dc.description.departmentMusic
dc.format.extent56 pages
dc.format.mimetypeapplication/pdf
dc.identifier.isbn9781339718644
dc.identifier.urihttps://hdl.handle.net/20.500.12588/5843
dc.languageen
dc.subject.classificationMusic
dc.subject.lcshBrahms, Johannes, 1833-1897 -- Criticism and interpretation
dc.subject.lcshHaydn, Michael, 1737-1806 -- Criticism and interpretation
dc.subject.lcshLarsen, Libby. Today, this spring
dc.subject.lcshGuillaume, de Machaut, approximately 1300-1377. Amours qui ha le povoir/Faus Samblant/Vidi Dominum
dc.subject.lcshChoruses (Women's voices) -- History and criticism
dc.titleRecital document
dc.typeThesis
dc.type.dcmiText
dcterms.accessRightspq_closed
thesis.degree.departmentMusic
thesis.degree.grantorUniversity of Texas at San Antonio
thesis.degree.levelMasters
thesis.degree.nameMaster of Music

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