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1
李德芬 und Daphne Lee. „The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.
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2
Lucas, James Edward. „Score and analysis of the International Suite for Two Pianos and Orchestra /“. The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.
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3
Mahoney, J. Jeffrey. „The Elements of Jazz Harmony and Analysis“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.
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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
4
Hughes, John Charles. „Leonhard Lechner's Passion (1593): cultural contexts, musical analysis, and historical implications“. Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1469.
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The Historia der Passion und Leidens unsers einigen Erlösers und Seligmachers Jesu Christi (1593) by Leonhard Lechner (c. 1553-1606) is frequently cited as an important work in the development of the Passion idiom. Given the work's notoriety, it is therefore odd that little substantive analysis of the piece exists. Aside from some scholars' cursory comments about the piece, only James Morgan Sides's dissertation has discussed the work at length. Sides's findings give a somewhat limited picture of Lechner's Passion because he primarily focuses on technical aspects of Lechner's musical language. This essay instead seeks to provide a more comprehensive examination of Lechner's composition by taking into account social factors that influenced the history, reception, and stylistic influence of the work. The essay seeks to understand Lechner's Passion according to its cultural context, place it within the Passion genre and Lechner's biography, reception history, as well as explore its influence on later Passion settings. It then uses these factors as a means to explore Lechner's musical language to a greater extent than previous scholarship.
The first chapter explores how social trends in sixteenth-century Württemberg, where Lechner was a chorister when he composed his Passion in 1593, affected his musical language. When Lechner wrote his Passion, the duchy was at a crossroads, balancing religious tradition and a more secular, modern future. On the one hand, over the 1500s, secularization occurred within the duchy's political, religious, and musical institutions. On the other hand, Württemberg's acceptance of Lutheranism in 1534 also shaped the duchy's culture. Additionally, despite its vehement anti-Catholic rhetoric and actions, Württemberg retained some of its long-standing Catholic religious and musical practices after its conversion to Lutheranism. Württemberg's dichotomous culture-a blend of secular, as well as Catholic and Lutheran influences-affected both the duchy's musical culture and Lechner's composition.
The second chapter explores how Württemberg's societal changes, the history of the Passion genre, and Lechner's biography influenced specific musical devices in Lechner's Passion setting. Throughout the work, Lechner seems to use incongruous compositional language-the work not only boasts forward-looking expressive devices, such as text painting, but also incorporates compositional devices typically associated with older Catholic Passion settings. Lechner's setting of Biblical texts in the German vernacular, however, reflects the principles of the Reformation, as well as Württemberg's acceptance of Lutheranism. As the essay traces Lechner's use of text and text setting, expressive devices, and Passiontons throughout each of the piece's five movements, Lechner's musical language is understood to be a product of the Passion idiom, his personal faith, and sixteenth-century culture.
While the first two chapters primarily focus on the relationship between Württemberg's culture and Lechner's musical language, the final chapter deals with the influence of Lechner's Passion, which has a bipartite legacy. In part, Lechner's Passion was summative because it is one of the last motet Passion settings, a subgenre that quickly disappeared due to the rise in popularity of instrumental music. Few motet Passions were composed after Lechner's; however, his work did influence later compositions, including pieces by Heinrich Schütz (1585-1672), Hugo Distler (1908-1942), and Kurt Thomas (1904-1973). It is significant that Lechner's Passion not only influenced Schütz, perhaps the greatest seventeenth-century Lutheran composer, but was also admired centuries later by twentieth-century composers.
The approach of this essay recognizes that no work of art is created in a vacuum and therefore seeks to explore how cultural factors influenced the composition of Lechner's Passion. Lechner's dichotomous compositional language is an outgrowth of sixteenth-century Württemberg's culture, the history of the Passion idiom, and his own biography. As the essay progresses from the piece's social framework to its historical implications, Lechner's Passion is framed as both a product of its time and a model for future compositions. This essay therefore provides a more comprehensive perspective of Lechner's Passion than what previous musical analyses have offered.
5
Wong, Hock-wei Wendy, und 黃學慧. „Containing the German within: the unpublishedpiano works of Dohnanyi Erno“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37366889.
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6
Chan, Chor-shan Sharon, und 陳楚珊. „Neither here nor there: the dramatic tension between the spoken word and music performance in Igor Stravinsky'sOedipus rex (1927)“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199540.
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Stravinsky’s opera-oratorio Oedipus Rex was based on Sophocles’ classic tragedy
Oedipus Tyrannus. Jean Cocteau wrote the libretto for Stravinsky in French, the
text was then translated into Latin. Le speaker speaking in the audience’s native
language with a detached voice is added to the opera-oratorio to narrate the events
of the story throughout. With its mixed genres, the juxtaposition of the dead
language and the vernacular, the contrast of the spoken word and the music
performance, and the intertexual references in the music, a strong dialectical
tension is created.
This study is a critical review of the narrative mode of Stravinsky’s Oedipus Rex.
For a very long time, literature on Oedipus Rex has mainly focused on the
presentation of its music. However, as an opera-oratorio, Oedipus Rex is
composed to stage. This study aims at investigating the theatrical significance of
the work, for its theatrical presentation is influential and profound in 20th century
music theatre. Of particular note is the use of le speaker. The narration inserted in
between each musical episode creates a sense of ambivalence in the storytelling.
The work is therefore a bold challenge to the way stories have been told in theatre
over the past centuries.
The discussion concludes with the analysis of Julie Taymor and Seiji Ozawa’s
film version of Oedipus Rex in 1992. With Japanese elements infused in the work,
the dramatic tension between the spoken word and the music performance is
further polarised. This production is an example of how a combination of the
spoken word and the music performance pushes the Oedipus story further away
from Sophocles’ original.published_or_final_version
Music
Master
Master of Philosophy
7
Johnson, Stephen. „Hecate nocturne : for large orchestra“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99173.
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With Hecate Nocturne, I set out to create a unified piece of substantial length. The piece features certain sounds of British Columbia---birds, animals, wind, water, machinery, and folksong; their musical depictions represent a growing interest of mine, one which was expanded significantly in this piece.The primary goal of the thesis is a close interconnection of all musical material, at all levels; that a limited pool of material could produce, through motivic development, all the components of the piece, from small to large. The secondary goal is to give the music a "sense of place" through depictions of natural sounds occurring---in this case---in British Columbia. The tertiary goal is to write musical returns, or recapitulations, that are always significantly altered from their original presentations, to give the piece a feeling of consequence or alteration. This last goal arises from the aesthetic application of some of the composer's philosophical beliefs.
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Ross, Gordon. „Popular music analysis“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.
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9
Von, Holtzendorff Peter. „A parametric integration model for the analysis of late Baroque music : a tentative approach“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20185.
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In four pieces selected from the late Baroque repertoire, the "Allemanda" from Corelli's Sonata for Violin and Continuo, Opus 5, No. 8, the "Allemande" from Bach's Clavierubung, Partita, No. 1, the chorus, "Thy Right Hand, Oh Lord" from Handel's Israel in Egypt, and the aria duetto, "Mein Freund ist Mein" from Cantata No. 140, Wachet Auf, by Bach, harmonic, melodic and motivic parameters are analysed and graphed so that their integration in each work is readily observable. Then, in an attempt to establish more general formal models similar to those developed by Arnold Schoenberg, Erwin Ratz, and William E. Caplin for the classical style, recurring patterns of integration are noted. Of special significance is the prominence of acceleration processes in each piece and their diversity, both in the parameters involved, as well as in the structural levels on which these processes operate.
10
Wolf, Motje. „The appreciation of electroacoustic music : an empirical study with inexperienced listeners“. Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/8680.
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The research contained within this PhD project forms part of the Pedagogical ElectroAcoustic Resource Site project of the Music, Technology and Innovation Research Centre of De Montfort University Leicester. This thesis contributes to current research in music education and musicology related to electroacoustic music. The purpose of this research was to investigate the influence of teaching on the change in inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to introduce electroacoustic music to 11 to 14 year old students (Key Stage 3). The curriculum was based on concepts distinguishing between electroacoustic music using (mainly) real-world sounds and generated sounds. The curriculum is presented in an online learning environment with an accompanying teacher’s handbook. The learning environment represents the prototype for the pedagogical ElectroAcoustic Resource Site offering online learning, blended learning and classroom-based learning. The website was developed following user-centred design; the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester. In five lessons music using real-world sounds (soundscape and musique concrète) was introduced, which included the delivery of a listening training, independent research and creative tasks (composition or devising a role-play). The teaching design followed the methods of active, collaborative and self-regulated learning. Data was collected by using questionnaires, direct responses to listening experiences before and after the teaching, and summaries of the teaching written by the participants. Following a Qualitative Content Analysis, the results of the study show that the participants’ appreciation of electroacoustic music changed during the course of these lessons. Learning success could be established as well as a declining alienation towards electroacoustic music. The principal conclusion is that the appreciation of electroacoustic music can be enhanced through the acquiring of conceptual knowledge, especially through the enhancing of listening skills following the structured listening training as well as the broadening of vocabulary to describe the listening experience.
11
Lessoil-Daelman, Marcelle. „Une approche synoptique des motifs et des modules dans la messe parodique /“. Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82914.
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This dissertation develops a synoptic approach to the systematic identification and comparison of the distribution of material from the model in the Kyrie and in the Credo of six parody masses of Palestrina, Lassus and de Monte, published between 1570 and 1600. These masses are grouped in pairs and each pair is based on a different model. Knowing that the compositional approaches to parody vary from one composer to one another, the objectives of this research are as follows: (1) comparison of the parodic approach of two composers in masses based on the same model; (2) comparison of pairs of masses, considering that Palestrina and Lassus treat two of the three models; (3) comparison of the three masses of Lassus written on three different models.The synoptic approach to analysis is very interesting, because after the simultaneous identification of the motives in the model and in the mass movements (Kyrie and Credo), the entire complex of selected motives and their use in the construction of the modules become very easily detectable. The results of this research show that: (1) the model does not dictate the treatment, because the same model is treated differently by two composers; for instance, two masses of Palestrina based on different models are more alike, than those of Palestrina and Lassus based on the same model; (2) the model seems to be more attractive to the composer when it is one of his own compositions; for example, Palestrina borrows more material from his madrigal Io son ferito to build his Missa Petra Sancta, than Lassus does it in his Missa super Io son ferito ahi lasso based on the same model; (3) the style of the model does not determine the style of the mass; motifs from a non-imitative model can be treated in imitation in the mass, and (4) the sections of the Kyrie are more suited to formal development (generated by the repetitions of modules), than those of the Credo.
12
Fromm, Mark Stanley. „Acheron, river of woe : for wind symphony“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99559.
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Acheron, River of Woe is a large-scale piece for wind symphony accompanied by an analytical thesis. It is a single-movement programmatic piece lasting twelve minutes scored for a wind symphony consisting of three flutes (one doubling piccolo), two oboes, English horn, two bassoons, contrabassoon, E-flat clarinet, three B-flat clarinets, A clarinet, bass clarinet, contrabass clarinet, four saxophones, four trumpets, four horns, two trombones, bass trombone, euphonium, tuba, string bass, timpani, and three percussionists. This piece represents a journey on the River Acheron, inspired by quotations taken from several Greek poets of antiquity. The entire piece flows as one long, fluid stream of music, with different sonic currents, waves, and eddies moving through it. Modal theory governs its harmonic structure and is the foundation of the piece.
13
Chang, Yuli 1982. „Poetic afterthought : seven pieces for orchestra“. Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112610.
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Poetic Afterthought is an original music composition for orchestra (2-2-2-2 / 4-2-2-1 / timp-perc / piano-harp / strings). The work comprises a cycle of seven orchestral pieces inspired by seven Chinese Classical poems. The seven orchestral pieces attempt to capture the moods and impressions of the poems while carrying hints of the original structures of the poetry as if the music speaks poetry itself.
14
Groven, Marielle 1984. „The ghost in the machine /“. Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116133.
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The Ghost in the Machine is a piece of music far large wind ensemble. This piece is concerned with the interrelationship between the perception of time passing in music and the level of perceived density of musical activity. Specifically, the piece is designed according to the notion that the higher the level of musical activity within smaller intervals of time, the higher the perceived level of density. The piece consists of a large-scale density envelope that spans the length of the entire piece, wherein the level of density increases gradually towards and decreases away from the climax point. The shape of this density envelope is reflected on smaller scales that operate at various levels of the music, all of which are discussed in detail in the analysis part of the thesis. These density envelopes are used as a means of structuring the listening process over the course of the piece.
15
García, de la Torre Mauricio 1976. „Cachalote“. Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116134.
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Cachalote is a work for 17 musicians inspired by the study of social behavioral patterns in sperm whales. The distinctive series of clicks produced by these mammals, known as "codas," are their primary means of communication. These patterns manifest in Cachalote as a series of "sound objects", whose specific arrangement symbolizes communication, and underlines the musical discourse. The sound of field recordings provided further inspiration for the music's texture and orchestration. The composer's creation of an extra-musical narrative related to the lifecycle of sperm whales determines the appearance and ordering of the work's main gestures, and articulates the overall structure.
16
Britton, Eliot. „Codecs“. Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116135.
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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of Codecs. The second volume is the score of this work. Volume one is divided into six sections: Introduction, harmony, rhythm and time, melodic materials, form, live electronics and future directions. Each section describes techniques and processes I developed throughout the compositional process.Codecs was inspired by the subversive proliferation musical materials though the use of audio codecs. I developed compositional tools based on encryption and compression in order to explore the audio codec metaphor.
Volume two is the full score of Codecs, a work for large ensemble and live electronics. It is comprised of three sections and has a duration of approximately 14 minutes. The work is scored for flute (doubling on piccolo), oboe, clarinet in Bb (doubling on bass clarinet), bassoon, horn in F, trumpet, trombone, tuba, string quintet and percussion. Electronic drum pads and captured live sounds are used to control the live electronic elements.
17
O'Neal, Thomas John. „Timbre as a compositional device in selected band repertoire since 1950“. Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186166.
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Since 1950, wind band repertoire has experienced accelerated change and growth. There has been a shift from orchestral transcriptions, in which wind instruments frequently have been used formulaically, to original compositions for wind band that explore new timbre possibilities. This study analyzes selected band pieces composed since 1950, paying particular attention to the use of timbre. Specific developments that are discussed, in addition to the change in band instrumentation, are the new emphasis on percussion, and the exploration of new instrument combinations and their resulting timbres. This study primarily focuses on Symphony in B-flat for Band (1951) by Paul Hindemith, Music for Prague 1968 by Karel Husa, and " ... and the mountains rising nowhere" (1977) by Joseph Schwantner. These pieces represent the efforts of renowned composers whose music is considered significant in band repertoire. Hindemith's Symphony in B-flat conforms to the standard instrumentation of the period, as dictated by the American Bandmasters Association in 1945. Husa's Music for Prague 1968 reflects considerable expansion of instrumentation, and expands the role of the percussion section. Schwantner's " ... and the mountains rising nowhere" marks a deliberate nullification of the standard instrumentation for which Hindemith and Husa composed. Even though these composers have continued to make traditional use of form and harmony, their experiments have made the band's instrumentation more flexible than that of the pre-1950 era. These composers have exploited expanded percussion writing and new combinations of instruments. The transition from a pre-determined instrumentation dictated by external influences (Hindemith), through an expansion of that standard (Husa), to a music that is freed from any instrumentation limitations (Schwantner) reflects increasing composer interest in timbre as a primary compositional element. Composers continue to experiment with the instrumentation of the band, excluding traditional instruments and adding others. They have created great flexibility in the size and make-up of wind band instrumentation and generated music that places timbre in a position of high priority.
18
Liu, Lai Ying. „Description as a transmedial mode of representation and its potential in instrumental music explored through a study of musical work inspired by paintings“. HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/77.
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Among various forms of art, music (and instrumental music in particular) is said to be the least descriptive art form, owing to its limitation with respect to hetero- referentiality--the ability to refer to things outside itself. However, in view of the impreciseness current in the definition of musical description itself, as well as a lack of case studies in understanding the modes of representation of descriptive music, there remain some questions about the fundamental nature and the potential of music as a medium of description. These questions will be raised and explored in this dissertation. It is particularly interesting that, while description is distinguished from narration in literary studies, in the past musicologists have often treated the two categories as one; thus, I posit that this ambiguity might blur our understanding of some aspects of the medial nature of music. By looking at semiotic features of music, I study how these features operate in delivering descriptive content through the analysis of programmatic music of various types. Their roles in developing the descriptive potential of music are also explored here. Building on theoretical studies by Werner Wolf, and the concepts of semiologists such as Ferdinand de Saussure and Charles Sanders Peirce, I discuss three musical cases: Franz Liszt’s piano work, Sposalizio (inspired by Raphael’s Lo Sposalizio della Vergine), Ottorino Respighi’s Trittico Botticelliano (inspired by three of Sandro Botticelle’s paintings), as well as Sergei Rachmaninov’s The Isle of the Dead, Op. 29 (inspired by Arnold Bocklin’s Die Toteninsel). The research presented here seeks to reveal how musical signs describe the elements of the painting, as well as how they gradually acquire their own symbolic meaning that, in turn, ultimately allows them to transcend the visual images, and operate to present the inner content of the painting, as expressed by either the painter or the composer towards the pictorial artwork.
19
Telesco, Paula Jean. „A HARMONIC ANALYSIS OF SELECTED PIANO MUSIC OF EMMANUEL CHABRIER“. Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275317.
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20
Adamcyk, David. „Balbuzard : for solo clarinet, wind symphony and electronics“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111504.
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Balbuzard is a musical composition of approximately twelve minutes in length, scored for solo clarinet, wind symphony and electronics. It focuses on cluster-like sound masses and explores ways of using these to give the music a clear sense of direction. To this end, tools were developed using a variety of computer applications or programming languages, such as Lisp, OpenMusic and Cubase. These tools made possible a kind of graphic composition where diagrams of different shapes were entered into a computer interface and converted into source material. The generated source material consisted of several rhythmic strata whose pitches, mainly part of diatonic, octatonic or chromatic collections, followed the contour of the entered shape. With this visual process, it was also possible to explore the creation of contrapuntal textures by entering diagrams of lines representing the path of each contrapuntal voice.**This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.
21
Sherman-Ishayek, Norma Lillian. „Closing gestures in opening ideas : strategies for beginning and ending in classical instrumental music“. Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60092.
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This paper studies the formal ambiguity that arises when a closing gesture occupies a beginning location in the instrumental works of Haydn, Mozart, and Beethoven. Accordingly, I am interested in those formal areas within a piece that are concerned with the functions of either "beginning" or "ending."I first present a systematic survey of the theoretical principles underlying the formal functions of beginning and ending in this style. I then show some specific examples of typical cadences and of initial units that imitate them. Next, I focus on the "main theme," observing how the function of "beginning" is performed by a "closing initial idea" and then, how the main theme's cadences express their proper function. Finally, I study what happens in other locations such as the return of the main theme, the cadence closing the form, and post-cadential material.
22
Budón, Osvaldo 1965. „Alrededor de una música auscente“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84687.
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Alrededor de una musica ausente is an 18-minutes long composition, written for three Instrumental Groups (Group I: two trombones; Group II: four flutes; Group III: strings [6 0 3 2 1]) and three computer-based Digital Signal Processing Stations, positioned in the performance space so as to form a circle around the audience.Instrumental Groups and DSP Stations establish a relationship of outputs to inputs with respect to each other. Throughout the composition, sound material is gradually transformed as it flows from one Instrumental Group or Digital Signal Processing Station to another. Transformation of the sound material is accomplished by means of digital signal processing and, in the instrumental parts, by way of compositional techniques modeled after specific electroacoustic sound processing techniques.
The organization of musical structures and formal processes was informed by certain characteristics associated with devices that handle information represented digitally, by techniques of electroacoustic sound production and transformation, and by particular extended instrumental techniques.
Volume 1 of this dissertation is a written text articulated in two parts. The first part gives a historical and aesthetical context for my composition. The second part is an analysis of materials and formal processes used in the piece. Volume 2 is the music score of the composition. A CD containing the patches and soundfiles utilized in the electronic part supplements both volumes.*
*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.
23
Christensen, Justin. „Tourniquet mirage“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83162.
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Tourniquet Mirage, a piece for orchestra and processed sound, is based on the recitation of a poem of the same name. Recitations are recorded and altered electronically through granulation and phase vocoding. Granular synthesis cuts audio up into "short sound grains" and combines them into a sequence of grains to form a longer final output. Phase vocoding uses Fourier analysis to analyze audio and represent it as a series of amplitudes, phases, and frequencies. The phase vocoder then uses this information to manipulate the audio without altering the overall structure of the waveform.The processed sound part is closely linked to the music in the orchestra. This is as a result of developing the pitch-material of the orchestra by spectrally analyzing the processed audio. At certain times, the relationship between the electronics part and the sound of the orchestra is blurred. To accomplish this, the related formal sections of the orchestra are situated in a canonic relationship with respect to the processed-sound part. The thesis is in two parts: an analysis and an orchestral score.
24
Walker, William J. (William Jared). „The Fantasias of John Dowland: An Analysis“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500694/.
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In spite of an increasing interest in the analysis of Renaissance music by contemporary theorists, few analyses of lute music exist. It is hoped that this thesis will serve to open a new area of analysis to scholars of Renaissance music. Chapter I deals with the background information necessary for the analysis, including Dowland's biography, lute history, technique, and notation, and the practice of modality on the lute. An overview of Dowland's music, especially the solo lute music, ends the chapter. Chapter II traces the form and development of the fantasia and surveys Dowland's seven fantasias. In Chapters III-V, the works are divided according to mode and analyzed in terms of counterpoint, dissonance, motivic development and modality. Chapter VI provides concluding remarks.
25
Dicus, Kent Timothy 1958. „A stylistic analysis of selected piano works of Louis Moreau Gottschalk“. Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276718.
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Although Louis Moreau Gottschalk's works are not generally recognized as being exceptionally significant in the development of musical style, they do serve as a link between the music of Frederic Chopin and that of Charles Ives. Certain stylistic characteristics of Chopin are seen in many of Gottschalk's works, especially those which incorporate "Scherzo" and "Mazurka" passages. Simultaneously, Gottschalk's concept of using popular tunes as prominent melodies and themes was later expanded by Charles Ives. Gottschalk's works include some of America's first experimentations with form through utilization and expansion of the basic form of ABA Coda. Through his use of varied ABA form with repeated and parallel passages, Gottschalk developed his particular style of phrasing, texture, and rhythm, all of which figure prominently in his works. Four pieces are examined with these concepts as the basis for analysis.
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Murdock, Matthew C. „Sidewinder syndrome : improvisational vocabulary and construction of Richard "Blue" Mitchell and Lee Morgan“. Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1364934.
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During the mid 1960s, record producers and jazz critics coined the phrase Sidewinder Syndrome to describe the funky style of music popularized through the success of Lee Morgan's solo release of "Sidewinder. The funky style, rooted in the heart of the hard bop period (1955-1965), united jazz, Latin influences, and popular black traditions such as gospel and urban blues. Lee Morgan (1938-1973), composer of "Sidewinder," and Richard "Blue" Mitchell (1930-1979) were two prolific trumpet artists from this time period who embraced the Sidewinder Syndrome, and as a result provided a rich improvisational vocabulary, as it pertains to trumpet performance practice. This study presents six annotated transcriptions from each artist focusing on elements of jazz vocabulary and solo construction.The study reveals vocabulary and solo construction preferences within the Sidewinder Syndrome. Results indicated the three most common harmonic generalization elements were digital patterns, change-running, and the bar-line shift. Complex harmonic generalization elements included bebop scale, 3-b9 movement, linear chromaticism, and tri-tone substitution / altered dominant. Vocal inflections derived from gospel music and urban blues were the half-valve, grace note, alternate fingerings, note bending, and fall. Bebop influenced articulation included upbeat-to-downbeat articulation and ghost note. Bebop influenced ornamentation included the two-sixteenth note ornament and the turn. Results suggest solo construction relied heavily upon the sequencing of rhythmic and melodic motives. Space was utilized for clarity, new concepts, and octave displacement. Developmental concepts included running eighth and sixteenth note lines. This study provides an opportunity for students of improvisation to isolate and study jazz vocabulary and solo construction of the Sidewinder Syndrome.School of Music
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Simon, Karem Joseph. „Historical and performance perspectives of clarinet material performed in a thesis recital“. Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26038.
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This document is designed to accompany the writer's Lecture-Recital performed on June 6, 1983. It presents all the material from the lecture
in a more detailed and extensive account.
A discussion of clarinet solo material, representative of four periods and/or styles in the development of the clarinet repertoire, is featured: an unaccompanied twentieth-century work, Heinrich Sutermeister's Capriccio; an early classical concerto, Karl Stamitz's Concerto in E-flat Major; a French Conservatory Contest Piece, Charles Lefebvre's Fantaisie-Caprice; and a late romantic sonata, Johannes Brahms' Sonata in E-flat Major, Op. 120, No. 2.
Sutermeister's Capriccio (1946), for A clarinet, was commissioned as a contest piece for the Geneva Conservatory. The composition is of a quality particularly suitable for a contest, for two contrasting ideas permeate the entire work: one is rough and crisp with staccato passages; the other is smooth and calm with legato passages. It is this writer's opinion that Capriccio reflects the influence of Sutermeister's cinematic works.
Karl Stamitz's Concerto in E-flat reflects the features of the French school of clarinet playing as exhibited by the first well-known clarinet virtuoso, Joseph Beer. This concerto also shows the influence of Mozart, as many mutual features occur between Stamitz's Concerto in E-flat and Mozart's Concerto in A.
Significant contributions to woodwind literature have been made by French composers. This is, in part, attributable to the Paris Conservatory, which since the late nineteenth century has commissioned French composers to write contest pieces for the final performance examinations. Such works have included Debussy's Première Rhapsodie, and Lefebvre's Fantaisie-Caprice.
Johannes Brahms' fascination with Richard Mühlfeld, eminent clarinetist
of the Meiningen Orchestra, manifests itself in four chamber works he wrote for the clarinet. Brahms' Clarinet Quintet Op. 115 is regarded as one of his greatest masterpieces. The Two Sonatas for Clarinet and Piano Op. 120 offer quite a contrast. The first, in F minor, is predominantly the more passionate of the two, whereas the second, in E-flat major, is of greater intimacy of expression.Arts, Faculty of
Music, School of
Graduate
28
Nakagawa, Eri. „A stylistic analysis of the piano trios of Saint-Sa�ens and Ravel“. Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1063301.
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Both Camille Saint-Saens (1835-1921) and Maurice Ravel (1875-1837) were outstanding composers of the late nineteenth century and the early twentieth century who followed and transmitted the specifically French tradition. Ravel studied at the Paris Conservatoire with Gabriel Faure (1845-1924), who was a student of Saint-Satins. SaintSaens's Trio No. 1, Op. 18, was written in 1863, while he was teaching a the Ecole Niedermeyer. As one of the earliest works by the composer, it reveals his conservative style in the well-defined four-movement structure, particularly characterized by classical periodization and clarity of texture. Saint-Sadns's Trio No. 2, Op. 92, was written in 1892, when he was more mature and better known as both composer and performer. Written twenty-nine years after the first trio, the second trio is more ambitious and complicated than the first trio. The second trio exhibits elaborate harmonies and extensive sonata structure, including a fugue within an unusual five-movement framework.Ravel's trio was completed in 1914, shortly after the start of the First World War, at Saint-Jean-de-Luz in Basque country. I The trio displays new sonorities and expression achieved by brilliant string techniques and powerful, vertical piano writing, as well as the employment of various kinds of non-traditional scales. Within a four-movement structure, the second movement, entitled Pantown, a poetic form of Malayan origin, is most original, including the middle section in polymeter.The analyses of these three trios reveal significant similarities in stylistic and formal characteristics. All three trios preserve the outline framework of the traditional sonata concept. Saint-Sa&ns's second trio and Ravel's trio include passacaglia movements, based on the Baroque form. All three trios employ folk elements: the modal style of certain themes, and certain rhythms; e.g., the Basque dance rhythm, zoriko, appears in Saint-Saans's second trio and Ravel's trio. The use of quintuple time in both trios also shows the Basque influence. Among other common characteristics are rhythmic ostinato and thematic juxtaposition. All three trios represent trends in French music between the late nineteenth century and the early twentieth century: nationalism and neoclassicism.School of Music
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Clavere, Javier. „Semiotic Analysis of Osvaldo Golijov’s Musical Setting of the Passion Narrative in La Pasión según San Marcos“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227221958.
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Stiles, Mary. „The art of light : a reflection on a piece for orchestra“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq48230.pdf.
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Adler, Ayal. „Crystallisation : for a large orchestra“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85219.
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This essay presents an analysis of Crystallisation, a composition for a large orchestra. The work consists of a single movement, with a duration of approximately 15 minutes.The analysis focuses mainly on formal structure, pitch organization, texture and rhythm. Some of the main topics are: large-scale form and subdivisions of each section, thematic interrelations of the sections, central pitches, pitch collections, chord structure and interrelations between texture and rhythm.
Throughout the course of the work, the music closely follows an overall process of searching for a valid structure and "core". In realizing this process the music takes on a variety of devices, among them: various kinds of symmetry within texture and form; thematic relations between separate sections through variants and material transformation; a coherent pitch organization which contains structural pitches, symmetrical collections and three main groups of chords; a complex and carefully structured rhythmic organization.
The concluding section of this essay compares between some of the properties of a crystal and the structure of various parts in Crystallisation.
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Shin, Minna Re 1969. „New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.
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The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositional "chain reaction" occurs.Chapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types.
Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.
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Maluf, Shireen. „Paths not taken : structural-harmonic ambiguities in selected Brahms Intermezzi“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23342.
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One of the remarkable features of Brahm's B-flat major Intermezzo for piano, Op. 76, no. 4 is the ambiguity of its tonal definition. The work disclosed a contrapuntal tension between its fundamental structural-harmonic organization, which is based on an incomplete harmonic progression (V7-I), and its more remote intermediary tonal areas, which Brahms implies throughout the Intermezzo but to which he never wholly commits.The aim of this investigation is to illustrate how tonal ambiguity is achieved though recurrent "incompletions" of the expected (or at least the more likely) harmonic progressions. The thesis undertakes a detailed study of Brahms' Intermezzo, Op. 76, no. 4, in B-flat major, with additional reference to the openings of Opp. 118, no. 1 (A minor); 118, no. 6 (E-flat minor); 119, no. 1 (B minor); 117, no. 2 (B-flat minor) and 76, no. 8 (C major). The study combines a Schenkerian linear-reductive approach with observations based on phenomenology--after Leonard Meyer and David Lewin--and narrative, after Edward T. Cone.
34
De, Médicis François. „La spécificité des structures thématiques à retour dans l'œuvre instrumental de Brahms /“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34943.
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This dissertation develops an analytical model for studying the specific nature of "themes of return" in the instrumental music of Brahms. Such a formal type, whose most familiar examples are the period and the small ternary, is distinguished by the presence of a "return," that is, the restatement, after intervening material, of its initiating material, which performs the same function as it did in its first appearance.Brahms' return structures are analyzed according to four parameters: cadence, return, phraseology (which combines aspects of grouping, accentuation and rhythmic activity) and variation of tension (produced by the combined action of such factors as the curve of the melodic line, dynamics and surface and harmonic rhythms).
Brahms' use of cadence and return differs fundamentally from that of classical composers. His cadential gestures are subjected to a looser categorization and articulate broader tonal relations than those found in classical practice. With respect to his treatment of return, he differs from classical composers largely in the influence of underlying factors, such as greater continuity in texture or a tendency to avoid an over-predictibility in cadential organization. The study of cadences and returns thus leads to the identification of formal traits characteristic of Brahms, including the use of structures beginning off tonic harmony.
Both the phraseology and the variation of tension in Brahms' themes exhibit a striking diversity in organization. For example, the phraseology may feature a grouping hierarchy based on a binary division combined with an irregular pattern of accentuation, an additive structure associated with a regular accentuation, or asymmetrical groupings. Variations in tension are often organized around a climax; however, the size and range of the fluctuations in tension can vary considerably, the accumulation of intensity which prepares the climax may be accomplished by different combinations of parameters, and each climax may occupy a different position within a given segment.
Return structures, so abundant in the Brahms' instrumental music, feature a great variety in their organization. This abundance and diversity is due to the structural type's ready adaptability to the particular demands of Brahms' musical style.
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Lima, Manuel Pessôa de. „Perspectivas analíticas : reflexões sobre análise musical no contexto da Sagração da Primavera“. [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284374.
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Orientador: Silvio Ferraz Mello FilhoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-20T19:38:53Z (GMT). No. of bitstreams: 1 Lima_ManuelPessoade_M.pdf: 26916491 bytes, checksum: 26f84d2887abfe617d44b304132f04bd (MD5) Previous issue date: 2012
Resumo: A presente dissertação parte de artigos reunidos de diversos autores, sob o título Rethinking Music1, juntamente com diversos textos do etnomusicólogo John Blacking, para apontar problemáticas da análise musical, tomando como exemplo a obra Sagração da Primavera
Abstract: This work is based in articles by different authors, collected on the book titled Rethinking Music2, along with several texts of ethnomusicologist John Blacking, to point out problems of musical analysis, taking as an example the work Rite of Spring
Mestrado
Processos Criativos
Mestre em Música
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Middleton, Neil 1977. „Fading points“. Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81476.
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Fading Points is a piece of music for large wind ensemble. The work is concerned with time perception and is designed to convey to the listener a long temporal progression from slow music to fast music. To this end, the work is written using musical gestures specifically designed for their portrayal of musical time. The work consists of four sections, each of which is described in detail in the analytical part of the thesis. The analysis also describes the rhythmic language, which is created around short rhythmic cells. These cells are based on ratios and are used in all levels of the piece from the surface rhythm to the large formal divisions. The harmonic language is also described. The vertical harmony is derived from a dense chord presented at the beginning of the piece. The horizontal pitch material is created from small pitch cells, also taken from the opening chord. These cells are used in isolation but are also combined to create modes, which are the focus of the latter parts of the piece.
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Powers, Ollie D. „Interactions between composers and technology in the first decades of electronic music, 1948-1968“. Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1056145.
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New electronic technologies began to appear after 1948 that seemed to promise the infinite expansion of sonic possibilities in music. The ability to record and manipulate existing sounds (as in musique concrete), and to generate new, unknown timbres with electronic generators (as in elektronische musik), provided an extraordinary multiplication of musical resources.Much literature of the period extols the new possibilities offered by electronic music, but the limitations of the technology of the 1950s and 1960s and the interactions that occurred between composers and that technology have been little explored. This study attempts to document some of these interactions.The influences of the equipment and procedures of "classical studio technique" on the resulting music are examined. Selected electronic compositions are analyzed in terms of the equipment employed and the limitations this equipment may have imposed. The study reveals characteristics of certain works that are directly dependent on characteristics of the technology. New devices or procedures developed by composers are also detailed.Areas examined include disc technology, magnetic tape, oscillators and generators, filters, modulators and other devices, techniques of spatialization in multi-channel works, and a sampling of specialized devices or procedures used by individual composers. The influences excercised by voltage-controlled synthesizers, such as those designed by Robert Moog and Donald Buchla, are also discussed.Works by the following composers are studied: Bulent Arel, Henk Badings, Louis and Bebe Barron, Luciano Berio, Robert Beyer, John Cage, Mario Davidovsky, Tod Dockstader, Herbert Eimert, Kenneth Gaburo, Paul Gredinger, Karel Goeyvaerts, Bengt Hambraeus, Pierre Henry, Giselher Klebe, Gottfried Michael Koenig, Gyorgy Ligeti, Otto Luening, Bruno Maderna, llhan Mimaroglu, Pauline Oliveros, Henri Pousseur, Dick Raaijmakers, Pierre Schaeffer, Karlheinz Stockhausen, Vladimir Ussachevsky, and Edgard Varese. The writings of Milton Babbitt, Joel Chadabe, and Gustav Ciamaga also contributed significantly.Supplementary information is provided by Jon Appleton, Joel Chadabe, Tod Dockstader, Bengt Hambraeus, David Keane, Arthur Kreiger, Elliott Schwartz, Daria Semegen, Pril Smiley, Gil Trythall, and Scott Wyatt in response to a questionnaire concerning their experiences with classical studio technique.This study reveals that a wide area exists for further research on this topic.School of Music
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Holbrook, Geoffrey. „Sets and senses : a work for symphony orchestra accompanied by an analysis : a hierarchy of scienceart interactions“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99174.
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Sets and the Senses is a work for symphony orchestra that bears the interaction between science and art as its overriding theme. Formalizations of compositional parameters that relate to this interaction are established, in particular those relating to the contrast between systematic and intuitively composed music, in order to provide a vehicle for musical communication on the theme. A summary of scientific and artistic elements of the compositional process reveals in the work an ingrained hierarchy of science/art interactions. Specific strategies for manipulating the science/art parameters are described. Genetic algorithms as applied to computer-assisted composition are discussed. The formal design of the work is described in terms of the relationship between science and art, accompanied by descriptions of systematic and intuitive musical procedures used.
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Sweeney, Mark Richard. „The aesthetics of videogame music“. Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.
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The videogame now occupies a unique territory in contemporary culture that offers a new perspective on conceptions of high and low art. While the fear that the majority of videogames 'pacify' their audience in an Adornian "culture industry" is not without justification, its reductionism can be countered by a recognition of the diversity and aesthetic potential of the medium. This has been proposed by sociologist, Graeme Kirkpatrick, although without close attention to the role of music. Videogame music often operates in similar ways to music in other mixed-media scenarios, such as film, or opera. In the same way that film music cannot be completely divorced from film, videogame music is contingent on and a crucial part of the videogame aesthetic. However, the interactive nature of the medium - its différance - has naturally led to the development of nonlinear musical systems that tailor music in real time to the game's dynamically changing dramatic action. Musical non-linearity points beyond both music and videogames (and their respective discourses) toward broader issues pertinent to contemporary musicology and critical thinking, not least to matters concerning high modernism (traditionally conceived of as resistant to mass culture). Such issues include Barthes's "death of the author", the significance of order/disorder as a formal spectrum, and postmodern conceptions and experiences of temporality. I argue that in this sense the videogame medium - and its music - warrants attention as a unique but not sui generis aesthetic experience. Precedent can be found for many of the formal ideas employed in such systems in certain aspects of avant-garde art, and especially in the aleatoric music prevalent in the 1950s and 60s. This thesis explores this paradox by considering videogames as both high and low, and, more significantly, I argue that the aesthetics of videogame music draw attention to the centrality of "play" in all cultural objects.
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Lee, Margaret Jackson. „A critical analysis of selected piano works by Hubert du Plessis“. Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002310.
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This study concentrates on the piano music of Hubert du Plessis, a South African composer who, apart from some years spent studying in England, has lived and worked in this country. He was born in 1922 on a farm in the Malmesbury district. After completing his schooling, he studied at the University of Stellenbosch , gaining a B A degree. Later, he continued his studies at Rhodes University, obtaining a B Mus degree. The Performing Right Society's scholarship gave him the opportunity of studying in London for three years (1951-1953). After his return, he became involved in the academic sphere, and lectured simultaneously at U C T and Stellenbosch, and then later just at Stellenbosch until his retirement in 1982. A number of his compositions for piano are as yet unpublished. This thesis has been limited to the published works for solo piano . The works studied are: Four Piano Pieces (Op. 1 ), Six Miniatures (Op. 3 ), Sonata No . 1 (Op. 8 ), Seven Preludes (Op. 18), Toe ek 'n kind was (Op. 33). Some biographical details have been given - in most cases to provide the background for the writing of each work - but the main thrust of this study has been towards a detailed structural analysis of each work. In my analysis, I have favoured the type of "Formal analysis" defined by Groves¹ in the article on analysis. In other words, I have used the traditional structural patterns i.e. Binary and Ternary form , Sonata form etc. insofar as it applied to the music under discussion. However, I felt that this was not sufficient for a study in depth of the music, as I had envisaged. Like Beethoven, du Plessis is a meticulous craftsman, who constructs and re- constructs , revises and rethinks. This means that the fullest attention is given to every detail of composition. Hence, like Tovey in his analysis of Beethoven sonatas, I have tended towards a bar-by-bar approach which, I hope, will reveal not only the structural detail, but also the relationships between phrases and motifs, where this is relevant. I felt that it was imperative to take this down to the real fundamentals, for without that basic approach, certain compositional techniques might be overlooked. Hence, I then hoped to draw some general conclusions about du Plessis' work. Groves¹ says of Tovey's method that it " represents the tradition of analysis and descriptive criticism in Britain as a whole . " However , despite this rather dry and academic approach there are times when, like Tovey, my analysis contains metaphor, or personification of the music. I have chosen what may be criticised as a rather old-fashioned approach to the analysis because of the basic intention behind this piece of research. As a school teacher I am aware of the pitiful paucity of source material on the music of the South African composers, which are set for study by Matriculation candidates. By this work, I had hoped to shed some light on at least one corner of this section of the syllabus, for both teacher and pupils. Hence, I did not attempt a distributional analysis or a category analysis , coded by computer and shown in graphical form. I chose a straightforward linear and logical progression through the pieces which, even with the limited musical vocabulary of the average school pupil, should be easily comprehensible. ] have also attempted to draw attention to interrelationships between movements or sets of pieces, and to see each work as a unit. In a study limited, by necessity, in its subject matter, as this is, it would be presumptuous to draw conclusions about du Plessis' work in general. This would necessitate an indepth survey of his other genres, especially his vocal works, which are so important an area of his creativity. However, it is possible, even in so limited a study, to gain an appreciation of Hubert du Plessis' meticulous craftsmanship and attention to detail that must gain him his rightful place among the South African musical "greats " of this century.
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Frackenpohl, David J. (David John). „Analysis of Nocturnal op. 70 by Benjamin Britten“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500442/.
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Nocturnal op. 70 is one of the most important large-scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of compression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the intervallic character of the work, identifying and correlating set types as they form networks of relationship. The reductive analysis discusses the underlying connections of focal pitches in the linear material of Nocturnal. The conclusion then correlates the results of the preceding analyses, discussing the large-scale unfolding of the form in Nocturnal.
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Thompson, Jonathan (Oboist). „Crystal Clear: A Performance Guide and Electronic Accompaniment of Mario Lavista's Marsias for Oboe and Crystal Glasses“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538800/.
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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.
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Dougherty, William Patrick. „An Examination of Semiotics in Musical Analysis: The Neapolitan Complex in Beethoven's Op.131“. The Ohio State University, 1985. http://catalog.hathitrust.org/api/volumes/oclc/23645007.html.
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Tucker, Wallace E. (Wallace Edward). „The Solo Tenor Trombone Works of Gordon Jacob: A Lecture Recital, Together with Three Recitals of Selected Works by L. Bassett, W. Hartley, B. Blacher, E. Bloch, D. White, F. David, G. Wagenseil, J. Casterede, L. Larson, and Others“. Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330731/.
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The three recitals consisted of performances of original eighteenth, nineteenth and twentieth century solo works for trombone with the exception of Lyric Suite for Euphonium and Piano by Donald White, Divertimento for Trumpet, Trombone and Piano by Boris Blacher, and Dialogue and Dance for Trombone and Tuba by Newel Kay Brown. The premiere performance of Straight As An Arrow for B-flat-F Trombone and Prepared Tape by Ronn Cox and Dean Crocker was also included. After presenting a brief biography and discussing Gordon Jacob's (1895-1984) stylistic influences, the lecture continues with a Tonal, Motivic and Formal analysis of his three works for solo tenor trombone: Concerto for Trombone and Orchestra, Concertino for Trombone and Wind Orchestra, and the Trombone Sonata. Tonality, modality, polymodality and free association of pitches are elements that are present at one time or another in these compositions. Jacob's inclination for using the folk song style is evident in his writing, especially in the slow movements. Introductions, transition areas, and secondary themes, with tonally ambiguous harmonies and instrumental concepts of melodies, create a tension that is released by the return to tonality in the areas that follow. Treatment of rhythmic and melodic motives helps produce the special quality found in Gordon Jacob's compositions. Over half the themes in the works being investigated are built around motivic development. Neoclassicism results from the use of forms rooted in earlier centuries, but the choice of key centers gives these forms a new life. Jacob's composition of absolute music, as well as his use of the older compositional techniques of parallel harmonies and slow introductions, reflect neoclassical practices. The performance of Jacob's pieces is facilitated by his use of musical materials idiomatic to the instrument.
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Bain, Jennifer 1967. „Selected antiphons of Hildegard von Bingen : notation and structural design“. Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23206.
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The musical structure of Hildegard von Bingen's "O quam mirabilis est" is directly linked to its notational system. After placing Hildegards's antiphons within an historical context in chapter one, chapter two reviews three previous analyses of "O quam mirabilis est" by Bronarski (1922), Cogan (1990) and Pfau (1990). The first two analyses ignore the syntax and expression of the text by focusing on the motivic level. The third analysis, though it embraces the text, lacks a formalization in its theoretical model. None of the analyses respond to the original notation. In response, chapter three examines the notation found in the sources containing Hildegard's music (the Riesenkodex and the Dendermonde codex) and discusses the structural importance of pitches within the neumatic groupings. The resulting graphic analysis adapt Schenkerian analytic notation to represent a hierarchy of pitch relationships. Chapter four applies this methodology to four other antiphons by Hildegard: "Hodie aperuit," "Nunc gaudeant," "O virtus sapientie," and "O virgo ecclesia."
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Sudol, Jacob David. „Time fixtures“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101832.
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Time Fixtures, a composition for chamber ensemble and electronics, attempts to provide some compelling perspectives on fixing a conception of time. The electronics feature six speakers placed symmetrically around the audience that broadcast live electronic transformations and pre-constructed audio files. The ensemble consists of eleven players: flute (doubling alto flute), oboe, B♭ clarinet (doubling bass clarinet), horn, percussion, harp, piano, MIDI keyboard (doubling crotale/tangkas placed out of sight of the audience), violin, viola, and violoncello. Performance also requires a conductor as well as a technician who operates a Max/MSP performance patch and the mixing board.
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Tan, Anthony. „--then time killed the wind-- : for percussion quartet and live electronics“. Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116055.
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...then time killed the wind... is an original musical composition scored for percussion quartet and electronics with a duration of fourteen minutes. This work explores metaphorical relationships between biological processes and musical processes. The primary constructive element in the work is a rhythmic language based upon the assignment of rhythmic cells to genetic sequences. Furthermore, biological models such as inverted repeats, zeitgeber, 2-D representations of DNA and cross-breeding were applied to musical parameters such as form, pitch, harmony and live electronics.
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Townsend, Jacqueline. „The Renaissance of the American Symphony for Wind Band as Exemplified by the Recent Symphonies of Donald Grantham, David Dzubay, James Stephenson, and Kevin Walczyk“. Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157549/.
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Since the 18th century, composers have utilized the symphony to communicate thoughts and ideas through the vehicle of a large ensemble composed of a variety of instrumental colors. Though the structure of the symphony has understandably been subject to the varied interpretations of composers over the past 300 years, several characteristics of the traditional symphony do seem to have stood the test of time. In this document, the recent developments of the American symphony for wind band is discussed, focusing on the ways in which recent works both adhere to and divert from the traditional understanding of the classical symphonic form and highlighting the resurgence of the form by wind band composers. For the purposes of this study, David Dzubay's Symphony No. 2: Through a Glass Darkly, James Stephenson's Symphony No. 2: Voices, Donald Grantham's Symphony No. 2: After Hafiz, and Kevin Walczyk's Symphony No. 4: Unforsaken are used to demonstrate how each composer writes in their own unique style using contemporary techniques, while still appearing to maintain traditional aspects of the symphonic form, whether consciously or subconsciously. For each of the four works, a structural analysis is conducted using a rubric of standard symphonic norms. Additionally, interviews were conducted with each composer, providing insight on their compositional process, the commissioning process, and their thoughts on the symphonic form for wind band. The responses each composer gave during their interviews is incorporated into the analysis of each work, allowing the composer's own voice to supplement the findings.
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Laurier-Cromp, Méliane 1983. „L'identité culturelle dans "Montreal", d'Ariane Moffatt : une analyse musicale sémiologique“. Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116006.
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The song " Montreal ", by Ariane Moffatt, has achieved a great success in the Summer of 2006. This thesis scrutinizes the causes of this popularity. After a review of the diverse existing methods in popular music research, three modes of analysis are presented. First, the study shown here describes the song through a music-theoretical approach; it observes the rules governing the voice, the melody, the rhythm, the phrases, the bass, the tonality, the chords, and the instruments used, supported by a precise transcription of the song. Then, this paper studies the musical codes that are found in "Montreal". In this section, the musical message of the piece is analyzed, while taking in consideration the sociohistorical context of the Summer of 2006, the national history that preceded the release of this piece, and the lyrics of the song. Finally, this study investigates the issue of national identity in Quebec, the place of "Montreal" into the collective imagination of Quebeckers, and the popular music tradition of the province.
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Kiatvongcharoen, Usa. „Analytical approaches to three of Debussy's preludes for piano“. Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20665635.
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