Browsing by Author "Burt, George"

Now showing 1 - 9 of 9
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    A psalm for clarinet. (Original composition);
    (1995) van Maanen, Cynthia; Burt, George
    This work is based on the twenty-third Psalm. The work is the first movement of a multi-movement piece. Each movement will be based on a different Psalm. The solo clarinet opens this work with the theme that all motives, secondary themes and harmonies are built upon. Important intervals in this movement are the minor second, major second, and perfect fourth.
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    An analytic overview of the music of Carl Ruggles
    (1988) Orkiszewski, Paul Thomas; Burt, George
    During his career, Carl Ruggles was considered to be at the forefront of American contemporary music. His techniques of non-repetition of tones in melodic lines and the saturation of the vertical and horizontal domains with half-steps created a version of atonality which shares a philosophical basis with Schoenberg, but differs sharply in practice. Within a progressive vocabulary, Ruggles' music shows a foundation in tradition. He made much use of traditional sixteenth century guidelines for the construction and interconnection of individual lines, and his method of motivic development and variation are based in the music of the nineteenth century. Like Schoenberg, he applied the fundamental concepts of the past to his own atonal vocabulary and musical ideal.
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    Elements for orchestra
    (1985) Grossman, Deena (b. 1955); Milburn, Ellsworth; Jones, Samuel; Citron, Marcia; Burt, George
    Elements for Orchestra is a three movement composition developed from a single four-note motive. Each movement explores the dramatic interplay between two themes. The first theme of the first movement, introduced by the cello section, is a lyrical, song-like melody with duple rhythms. The contrasting second theme, introduced by solo flute, has triple rhythms and a playful, dance-like contour. This theme becomes the basis for the melodies of the second movement, a Scherzo in triple time. In order to create compositional unity, both the lyrical theme of the first movement, and the second theme of the Scherzo come together at the climax of the final movement. Thesis, antithesis, and synthesis are the primary concepts which motivate the dramatic shape of Elements for Orchestra.
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    Exit Music (1968)
    (Shepherd School of Music, Rice University, 1978-04-23) Burt, George; Richard Pickar, conductor; Members of the Shepherd School Faculty
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    Movement for String Quartet. (Original composition);
    (1996) Frank, Gabriela Lena; Burt, George
    This is a work that explores the textural and contrapuntal possibilities of limited aleatorism within the context of a string quartet. The tonal center of the piece revolves around the note C which is established in several key places--in the beginning, in the climax in the very middle of the work, and in the very end. Formally, the work's structure is in a rough mirror, or arch form. This piece was inspired by Witold Lutoslawski's String Quartet (1963) not only for the use of limited aleatorism, but also through a loose quote from that particular work of a motive comprised of C octaves in sixteenth notes couplets.
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    Music From The Red Pony - Film Music by Aaron Copland
    (1989) Tucker, Aubrey; Burt, George; Schnoebelen, Anne; Milburn, Ellsworth
    As the motion picture in the twentieth century's unique contribution to the dramatic arts, academic attention to the study of film music is more than justified. The greatest hindrance to research is the unavailability of many film scores. The film composer's task is specialized, demanding the ability to create quickly and coolly under pressure. Aaron Copland developed as a dramatic composer from the beginning. While studying in Paris, he was influenced toward seeking an accessible and uniquely American style. His arrival at that style in the late 1930's preceded an invitation to compose music for films. Analysis of the original score for The Red Pony reveals Aaron Copland as a skillful and artistic film composer. The Copland music is also discussed as it relates to other aspects of the film. Copland was a dominant influence on film scores after 1940, particularly concerning themes of Americana and the West.
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    String Quartet No. 1
    (1997) Cornelius, John L., II; Burt, George
    This piece works at a synthesis of two musical approaches: on one hand, the classical Western European technique of composition whereby all material is tempered to create a unified whole, and on the other, the milieu of American popular music where the variety and difference of various parts are expected to retain their individuality and, yet, contribute to the collective effort.
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    The twelve-tone method and the classical tradition in Roger Session's Symphony No. 3
    (1995) Koh, Tse-Ying; Burt, George
    Premiered by the Boston Symphony Orchestra on December 6, 1957, Sessions' Third Symphony was the first of his orchestral works to employ twelve-tone procedures. But while expressing the harmonic and melodic vocabulary of a twentieth-century non-tonal composer, Sessions also demonstrates an allegiance to classical tradition by employing classical forms and devices. The first and last movements approach a classic sonata form, the second movement is akin to a minuet or scherzo and trio, while the third consists of a theme and two variations. By integrating twelve-tone principles with traditional procedures, Sessions created a work that not only penetrated the future (of his time) but also paid homage to the past.
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    Windows and Mirrors. (Original composition);
    (1991) Gehman, Scott Harwood; Burt, George
    "Windows and Mirrors" is an orchestral work in three movements: fast-slow-fast. The first movement alludes to elements of popular music styles used in dance bands, Latin rhythm bands and European jazz music and emphasizes rhythmic elements and the percussion section of the orchestra. The second movement is reminiscent of a passacaglia of the Baroque period, but instead of repeating the bass line, it repeats a chord progression. Placed over this music are various combinations of counterpoint and orchestral colors. The third movement, in rondo form, is in the style of free atonality and contains strong contrasts in it musical activity. After these contrasts are established, ideas from the first movement return and the music concludes with motives from both movements juxtaposed and intertwined. The title "Windows and Mirrors" does not refer to any specific program represented by the work; instead, the phrase alludes to a mental image of the creative process. Just as a house of mirrors creates novel shapes and proportions from existing forms, the act of composing creates changes in one's initial inspirations. As these develop from week to week, they spawn completely new ideas.