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Dual-Aspect Meter: A Theory Of Metrical Consonance, Dissonance, Weight, And Variety, Andrew Wilson 2016 The Graduate Center, City University of New York

Dual-Aspect Meter: A Theory Of Metrical Consonance, Dissonance, Weight, And Variety, Andrew Wilson

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

The core argument of the dissertation emerges as a synthesis of ideas introduced in the first four chapters. Resonances with recent metrical theories are explored in chapter 1. Chapter 2 problematizes modern and historical theories through a phenomenological examination of meter and phenomenal accent in a few baroque sarabandes. Meter in these pieces is shown to involve entrainment to both a beat hierarchy and a recurrent weight profile, clarifying that metrical dissonance is fundamentally an expressive category, not a phenomenal category. Chapters 3 and 4 articulate a theory of weight, reviewing and refining phenomenal-accent theory, developing a notion of musical ...


Ten Etudes For Solo Cello By Sofia Gubaidulina, Julia A. Biber 2016 The Graduate Center, City University of New York

Ten Etudes For Solo Cello By Sofia Gubaidulina, Julia A. Biber

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

Sofia Gubaidulina is regarded as one of the most original and highly respected voices in contemporary music today. Her use of the Fibonacci and its related series to structure her compositions has become a defining feature of her music and, therefore, most analysis has focused on pieces that incorporate this method, which she calls “rhythm of form.” Consequently, works written prior to her adoption of this method have garnered much less analytical attention. However, in her earlier works­––from the late 1960s through the early 80s––Gubaidulina not only explores new sounds and colors, but also found creative ways to ...


Musical And Dramatic Roles Of The Chorus In Hugo Weisgall’S "Esther", Michael A. Capobianco IV 2016 The Graduate Center, City University of New York

Musical And Dramatic Roles Of The Chorus In Hugo Weisgall’S "Esther", Michael A. Capobianco Iv

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

Hugo Weisgall is considered one of America’s most important opera composers. He invariably chose subject matter of high artistic or philosophical importance, composing operas that dealt with significant 20th-century moral, social, and philosophical issues. In writing his final opera, Esther, which the New York City Opera premiered in October, 1993, Weisgall was able to make a larger statement about his Jewish heritage, the history of Jewish persecution and ultimate survival. The dissertation suggests that we enter the music and meaning of the opera most deeply through a consideration and study of the Chorus. The Chorus’s roles are as ...


The Fourth Movement Of György Ligeti's Piano Concerto: Investigating The Musical-Mathematical Connection, Cynthia L. Wong 2016 The Graduate Center, City University of New York

The Fourth Movement Of György Ligeti's Piano Concerto: Investigating The Musical-Mathematical Connection, Cynthia L. Wong

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

This interdisciplinary study explores musical-mathematical analogies in the fourth movement of Ligeti’s Piano Concerto. Its aim is to connect musical analysis with the piece’s mathematical inspiration. For this purpose, the dissertation is divided into two sections. Part I (Chapters 1-2) provides musical and mathematical context, including an explanation of ideas related to Ligeti’s mathematical inspiration. Part II (Chapters 3-5) delves into an analysis of the rhythm, form, melody / motive, and harmony. Appendix A is a reduced score of the entire movement, labeled according to my analysis.


Symmetry And Interval Cycles In The Quartettos Of Mario Davidovsky, Ines Thiebaut Lovelace 2016 The Graduate Center, City University of New York

Symmetry And Interval Cycles In The Quartettos Of Mario Davidovsky, Ines Thiebaut Lovelace

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

The music of Mario Davidovsky has seldom been analyzed past the timbral implications of his electroacoustic pieces and gestural aspects of his phrasing, and there has been virtually no attention paid to its pitch organization, despite the composer’s longstanding interest in writing for acoustic instruments. In this dissertation, I demonstrate how two main consistent resources for the organization of pitch govern the musical continuity and formal structure of his music, what I’ve called symmetry potentiality—actuality, and interval cycle potentiality-actuality processes. The interval cycle potentiality-actuality process refers to the various interval cycles that self-perpetuate, completing aggregates. This self-perpetuation ...


The Relation Of Analysis To Performance Of Post-Tonal Violin Music: Three Case Studies, Karen E. Rostron 2016 The Graduate Center, City University of New York

The Relation Of Analysis To Performance Of Post-Tonal Violin Music: Three Case Studies, Karen E. Rostron

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

This dissertation investigates analytical and performance relationships through studies of three post-tonal pieces for solo violin: Élégie by Igor Stravinsky (1944), Riconoscenza per Goffredo Petrassi by Elliott Carter (1984), and Melismata by Milton Babbitt (1982). The challenge of interpretation is especially evident in non-tonal music, as performers are unlikely to have any knowledge of the relevant relationships between pitches, functions of harmonies, or formal features in the pieces they play. In this respect analysis can contribute to an understanding needed to form a meaningful interpretation. I will attempt to show that even the most seemingly abstract theoretical concepts can have ...


War Of The Worlds: Music And Cosmological Battles In The Balinese Cremation Procession, Michael B. Bakan 2016 Florida State University

War Of The Worlds: Music And Cosmological Battles In The Balinese Cremation Procession, Michael B. Bakan

Yale Journal of Music & Religion

Abstract

This article explores processional action as a form of cosmological intervention in Hindu-Balinese cremation processions, focusing on the multiple and intersecting functions of a particular type of Balinese instrumental music ensemble: the gamelan beleganjur. It explores the alternately “enlivening and protective aspects” (DeVale 1990, 62) that underlie the use of beleganjur music in the ngaben, or cremation ritual, showing how beleganjur’s sonic power and rhythmic drive serve to combat malevolent spirit beings, strengthen and inspire processional participants in their efforts to meet challenging ritual obligations, and grant courage to the souls of deceased individuals embarking on their perilous ...


A Proposal For The Inclusion Of Jazz Theory Topics In The Undergraduate Music Theory Curriculum, Alexis Joy Smerdon 2016 University of Tennessee, Knoxville

A Proposal For The Inclusion Of Jazz Theory Topics In The Undergraduate Music Theory Curriculum, Alexis Joy Smerdon

Masters Theses

The demands of the twenty-first century require musicians to be more stylistically versatile since there are more opportunities for performance when musicians are familiar with not only classical but also jazz and popular music. Understanding the theory behind jazz and pop styles will help prepare the musicians for these opportunities. Since all music students take music theory, it is in the students’ best interest for teachers of theory to include jazz theory topics in the classical music theory curriculum. The purpose of this thesis is to propose the inclusion of jazz theory topics in the undergraduate music theory curriculum. To ...


Dynamic And Attack Associations In Boulez’S Le Marteau Sans Maître, Wayne C. Wentzel 2016 Butler University

Dynamic And Attack Associations In Boulez’S Le Marteau Sans Maître, Wayne C. Wentzel

Wayne Wentzel

This paper explores dynamic and attack associations in the Bourreux de Solitude movement of Pierre Boulez's pivotal piece, Le Marteau sans maître.


Sonatas, Rondos, And Cupcakes: The Efficacy Of Collaborative Learning In Undergraduate Music Theory Courses, Kyle Gullings 2016 University of Texas at Tyler

Sonatas, Rondos, And Cupcakes: The Efficacy Of Collaborative Learning In Undergraduate Music Theory Courses, Kyle Gullings

Kyle Gullings

This paper examines the efficacy of collaborative and creative learning models in undergraduate music theory courses, using as comparative case studies group projects I assigned in three consecutive Form and Analysis classes from 2011 through 2014. I make the case that creative group projects, when executed correctly, have a net benefit for students, and that we as educators should make more effective use of them in our courses.


Art As Display, Frank M. Boardman 2016 Graduate Center, City University of New York

Art As Display, Frank M. Boardman

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

Art is essentially a type of display. As an activity, art is what we do when we display objects with certain intentions. As a set of objects, art is all of those things that are displayed for those purposes. The artworld is the social atmosphere that surrounds this particular activity of display. And a history of art is an evolving narrative of change in the practice of this sort of display.

Specifically, to focus for convenience on art as a set of objects, this is what we can call the “displayed-object thesis”:

x is a work of art iff: (a ...


Charles Ives On The Nature Of Experience: The Compositional Designs And Aesthetic Programs Of Three Orchestral Works, Ashleé Michele Miller 2016 Graduate Center, City University of New York

Charles Ives On The Nature Of Experience: The Compositional Designs And Aesthetic Programs Of Three Orchestral Works, Ashleé Michele Miller

All Graduate Works by Year: Dissertations, Theses, and Capstone Projects

Charles Ives on the Nature of Experience: The Compositional Designs and Aesthetic Programs of Three Orchestral Works explores the hypothesis that Ives set in motion in many of his compositions a juxtaposition of temporal process (such as polyrhythm and polymeter) with the aim of exploiting a person’s innate abilities to entrain. Ives believed participants engaged in a juxtaposition of temporal processes are able to form personalized experiences by choosing which elements to attend to.

I present three analyses to explore the potential for multiple entrainment experiences in three works by Ives: The Unanswered Question, Central Park in the Dark ...


A Comparative History And The Importance Of Chamber Music, Aaron M. Sacks 2016 California State University, Monterey Bay

A Comparative History And The Importance Of Chamber Music, Aaron M. Sacks

Capstone Projects and Theses

This capstone presentation focuses on the role of chamber music in both social and academic contexts. Using examples from the past five centuries and including local examples, parallels and divergences are drawn to points of most import. The spotlight is upon three areas: a) what the role of chamber music was in the past, compared to today; b) why it is an important genre, to both musicians, as well as non-musicians, and c) in what ways more exposure to the form can be built. Much of the focus is on composers and their influence, but the impact of and upon ...


Zarlino, Anamorphosis, And Cinquecento Italy, Edwin Li 2016 The University of Hong Kong

Zarlino, Anamorphosis, And Cinquecento Italy, Edwin Li

Nota Bene: Canadian Undergraduate Journal of Musicology

This paper examines the relationship between Gioseffo Zarlino’s personal considerations and the socio-cultural circumstances in Cinquecento Italy on the basis of anamorphosis—the idea that an object can be understood from multiple angles. Arguably one of the most important theorists of the sixteenth century, Zarlino, although cognizant of chords as vertical constructs, deliberately disguised tonality as modality. This prompts a myriad of questions as to why he did not further develop his theory into a major-minor schema, given that he had already emphasized the Ionian and Aeolian modes in Le Istitutioni Harmoniche. This paper explores the reasons behind his ...


Foreword And Front Matter, Nota Bene Editors-in-Chief 2016 Western University Canada

Foreword And Front Matter, Nota Bene Editors-In-Chief

Nota Bene: Canadian Undergraduate Journal of Musicology

No abstract provided.


The Early Schenkerians And The "Concept Of Tonality", John Koslovsky 2016 Conservatorium van Amsterdam; Utrecht University

The Early Schenkerians And The "Concept Of Tonality", John Koslovsky

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

This essay investigates the role that a single expression played during the years when Schenker’s ideas began to disseminate en masse, the so-called “concept of tonality.” In particular, it examines how three key Schenker disciples—Oswald Jonas, Felix Salzer, and Adele Katz—used the expression to promote his/her own vision of Schenkerian analysis and pedagogy during the 1930s, 40s, and 50s. While considering the writings that gave birth to the expression, the essay also points to the common sources these early Schenkerians drew on in forming their narratives around Schenker, and it goes on to explore the divergent ...


On The Slow Movement Of Brahms's F-Minor Clarinet Sonata: Thirds-Cycles, Diatonie, And Todesangst, Edward Klorman 2016 Queens College and the Graduate Center, City University of New York

On The Slow Movement Of Brahms's F-Minor Clarinet Sonata: Thirds-Cycles, Diatonie, And Todesangst, Edward Klorman

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

The slow movement (Andante un poco adagio) of Brahms’s Sonata in F Minor for Piano and Clarinet, op. 120, no. 1, poses two significant challenges for a Schenkerian analysis: (1) pervasive, surface-level rhythmic displacements throughout the A section obscure the relationship between melody and bass; and (2) the B section is organized as a major-thirds cycle, a procedure that has often been regarded as incompatible with the underlying Diatonie of Schenker’s framework. This study develops two plausible interpretations of the ambiguous A section, of which one is selected for its clearer alignment of outer-voice counterpoint with formal function ...


Essays From The Fifth International Schenker Symposium (Part I), William M. Marvin 2016 Eastman School of Music, University of Rochester

Essays From The Fifth International Schenker Symposium (Part I), William M. Marvin

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

No abstract provided.


Do It Again: Sequences In Gershwin And Kern’S Popular Songs, Maxwell Ramage 2016 Unaffiliated

Do It Again: Sequences In Gershwin And Kern’S Popular Songs, Maxwell Ramage

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

Melodic sequences can create musical unity, enhance extra-musical drama, and make a piece memorable. In constructing their popular songs for Broadway and Hollywood, Gershwin and Kern both employed melodic sequences, but did so in mutually differing ways. This article opens with a broad-brushed comparison between the composers’ most popular songs and finds that Kern had a greater predilection for sequences than did Gershwin. Next, I closely analyze several songs by each composer in order to specify differences between the two songsmiths’ approaches to sequence. It is determined that Gershwin often reserves melodic sequence for musical climaxes, whereas Kern tends to ...


Concise Manual Of Harmony, Intended For The Reading Of Spiritual Music In Russia (1874), Piotr Illyich Tchaikovsky, Liliya Shamazov (ed. and trans.) 2016 Stuyvesant High School, NYC

Concise Manual Of Harmony, Intended For The Reading Of Spiritual Music In Russia (1874), Piotr Illyich Tchaikovsky, Liliya Shamazov (Ed. And Trans.)

Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic

No abstract provided.


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