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A New Geometric Model And Methodology For Understanding Parsimonious Seventh-Sonority Pitch-Class Space, Enoch S. A. Jacobus 2012 University of Kentucky

A New Geometric Model And Methodology For Understanding Parsimonious Seventh-Sonority Pitch-Class Space, Enoch S. A. Jacobus

Theses and Dissertations--Music

Parsimonious voice leading is a term, first used by Richard Cohn, to describe non-diatonic motion among triads that will preserve as many common tones as possible, while limiting the distance traveled by the voice that does move to a tone or, better yet, a semitone. Some scholars have applied these principles to seventh chords, laying the groundwork for this study, which strives toward a reasonably comprehensive, usable model for musical analysis.

Rather than emphasizing mathematical proofs, as a number of approaches have done, this study relies on two- and three-dimensional geometric visualizations and spatial analogies to describe pitch-class and harmonic ...


The Count's Dilemma, Or, Harmony And Dissonance In Legal Language, Ian Gallacher 2012 Syracuse University College of Law

The Count's Dilemma, Or, Harmony And Dissonance In Legal Language, Ian Gallacher

College of Law Faculty - Scholarship

Lawyers have had a long, but ambivalent, relationship with metaphor. Viewed by some as a mere literary device, a trick of language that "adds little of substance to an argument," metaphor is seen by others as an essential component of legal language, a rhetorical device inseparable from thought. On one thing, though, all can agree: lawyers only have words to express their thoughts, so they have an obligation to use words, whether used metaphorically or not, as exactly as possible.

This article offers a critique of the way lawyers meet this obligation when they use metaphors based in musical language ...


Running Barefoot, Benjamin Marx 2012 Bard College

Running Barefoot, Benjamin Marx

Senior Projects Spring 2012

I have been required by the registrar to submit an artist statement, and to be honest I do not know what I am supposed to say. If I am expected to explain a deep profound message about my music, I have none. And if I should to discuss the pieces in my concert, I would rather leave it up to the audience to figure out what the pieces mean to them. Now I am only on the cusp of my musical exploration. I have just this year glimpsed the vast world of music and begun to understand its endlessness. While ...


Investigating The Structure Of Acoustic And Electronic Noise : An Analysis Of 'Volumina' By Gyorgy Ligeti And 'Canaanda' By Merzbow, Sam Gillies 2012 Edith Cowan University

Investigating The Structure Of Acoustic And Electronic Noise : An Analysis Of 'Volumina' By Gyorgy Ligeti And 'Canaanda' By Merzbow, Sam Gillies

Theses : Honours

The term noise as it pertains to music is a subjective one and open to interpretation. What we find is that over 20th century discourse, the term noise has been used as a broad label to encapsulate all musical sound that functions in a way that opposes what would widely be considered 'musical'. While much of the literature covers the categorisation and political theory of noise in music, there is comparatively little literature that analyses musical construction of noise music beyond that of a purely aesthetic or political reaction.

This thesis seeks to explore the world of noise music with ...


Gloria, Abigail L. Kempson 2012 Gettysburg College

Gloria, Abigail L. Kempson

Student Publications

A four part (SATB) motet written with Renaissance counterpoint, specifically in the style of Palestrina. Set to the text of the Gloria. About 2 minutes and 15 seconds in length.


Ear Training With The Music Of Radiohead, Victoria Malawey 2011 Macalester College

Ear Training With The Music Of Radiohead, Victoria Malawey

Victoria L. Malawey

No abstract provided.


The Count's Dilemma, Or, Harmony And Dissonance In Legal Language, Ian Gallacher 2011 Syracuse University College of Law

The Count's Dilemma, Or, Harmony And Dissonance In Legal Language, Ian Gallacher

Ian Gallacher

Lawyers have had a long, but ambivalent, relationship with metaphor. Viewed by some as a mere literary device, a trick of language that "adds little of substance to an argument," metaphor is seen by others as an essential component of legal language, a rhetorical device inseparable from thought. On one thing, though, all can agree: lawyers only have words to express their thoughts, so they have an obligation to use words, whether used metaphorically or not, as exactly as possible. This article offers a critique of the way lawyers meet this obligation when they use metaphors based in musical language ...


The Count's Dilemma, Or, Harmony And Dissonance In Legal Language, Ian Gallacher 2011 Syracuse University College of Law

The Count's Dilemma, Or, Harmony And Dissonance In Legal Language, Ian Gallacher

Ian Gallacher

Lawyers have had a long, but ambivalent, relationship with metaphor. Viewed by some as a mere literary device, a trick of language that "adds little of substance to an argument," metaphor is seen by others as an essential component of legal language, a rhetorical device inseparable from thought. On one thing, though, all can agree: lawyers only have words to express their thoughts, so they have an obligation to use words, whether used metaphorically or not, as exactly as possible. This article offers a critique of the way lawyers meet this obligation when they use metaphors based in musical language ...


Clarinet Performance Practices For Alberto Ginastera's "Variaciones Concertantes": Solutions For Orchestral Auditions And Performances, Thomas James Kmiecik 2011 University of Nevada, Las Vegas

Clarinet Performance Practices For Alberto Ginastera's "Variaciones Concertantes": Solutions For Orchestral Auditions And Performances, Thomas James Kmiecik

UNLV Theses, Dissertations, Professional Papers, and Capstones

The principal clarinet part of Alberto Ginastera's Variaciones concertantes (1953) requires the performer to execute a number of exposed passages that are considered impractical by many clarinetists as published. The Boosey & Hawkes edition of Variaciones concertantes was published for the B-flat clarinet. On account of this clarinet choice, the part exceeds the traditional upper range of the instrument in the third variation (Variazione in modo di Scherzo per Clarinetto ). Moreover, it requires very awkward fingering patterns in passages because they are written in the Phrygian mode of C-sharp. To avoid some of these technical obstacles, many professional clarinetists alter ...


Faculty Wind Quintet: Five High School Tour, South And Central Oregon, Nicole Molumby, Jeanne Belfy, Leslie Moreau, Janelle Oberbillig, David Saunders 2011 Boise State University

Faculty Wind Quintet: Five High School Tour, South And Central Oregon, Nicole Molumby, Jeanne Belfy, Leslie Moreau, Janelle Oberbillig, David Saunders

David Saunders

These performances spanned 150 years of wind quintet repertoire including works by György Ligeti, Carl Nielsen, August Klughardt, Jacques Ibert, Paul Hindemith, Sir Malcolm Arnold and Paquito D’Rivera.


Solo Composition Recital (October 14, 2011), Dominic Dousa 2011 University of Texas at El Paso

Solo Composition Recital (October 14, 2011), Dominic Dousa

Dominic Dousa

Faculty Compositon Recital, presented by Gregory Luffey (soprano saxophone, UTEP), Melissa Colgin-Abeln (flute, UTEP), Mark Schuppener (violin, UTEP), and Dominic Dousa (piano).

Performances of the following original compositions:

"A View from Within"

"Two Pieces for Flute and Piano"

"Sonata for Violin and Piano"


Our Varying Histories And Future Potential: Models And Maps In Science, The Humanities, And In Music Theory, Eugene Narmour 2011 University of Pennsylvania

Our Varying Histories And Future Potential: Models And Maps In Science, The Humanities, And In Music Theory, Eugene Narmour

Departmental Papers (Music)

Part 1 briefly recounts the influence of social unrest and the explosion of knowledge in both psychology and the humanities circa 1970-1990. As the sciences rely on explicit top-down theories connected to bottom-up maps and models, and whereas the humanities build on bottom-up differences within malleable top-down “theories” (approaches, themes, theses, programs, methods, etc.), the changes in the sciences during this period contrasted sharply with the changes in the humanities. Part 2 discusses in detail how these two social transformations affected the histories of music theory and cognitive music theory. The former fractiously withdrew from its parent organization (AMS), whereas ...


Cognitive Processes For Infering Tonic, Steven J. Kaup 2011 University of Nebraska-Lincoln

Cognitive Processes For Infering Tonic, Steven J. Kaup

Student Research, Creative Activity, and Performance - School of Music

Research concerning cognitive processes for tonic inference is diverse involving approaches from several different perspectives. Outwardly, the ability to infer tonic seems fundamentally simple; yet it cannot be attributed to any single cognitive process, but is multi-faceted, engaging complex elements of the brain. This study will examine past research concerning tonic inference in light of current findings. First I will survey the recent history of experimental research in cognitive functions for memory retention and expectation as they relate to the recognition and learning of musical schemas. Then I will discuss distributional theories associated with the tonal hierarchy of major and ...


An Explanation Of Anomalous Hexachords In Four Serial Works By Igor Stravinsky, Robert Sivy 2011 University of Tennessee, Knoxville

An Explanation Of Anomalous Hexachords In Four Serial Works By Igor Stravinsky, Robert Sivy

Masters Theses

Igor Stravinsky's precompositional process was so methodical that his move to serialism is no surprise. After becoming acquainted with the music of Schoenberg and Webern, Stravinsky was moved to experiment with serial techniques. He rejected many of the conventional approaches developed by the serial architects, only to adopt the technique at its basic form—the use of a series of pitches—and cultivate it into his own compositional style. Stravinsky continued to refine his style throughout his serial period (1951–1966) as each composition grew increasingly more serial than the last. For each work composed after 1960, Stravinsky constructed ...


Pianistic Imagery In Franz Schubert's Die Schone Mullerin, Kristen (Wargo) Kiekel 2011 Liberty University

Pianistic Imagery In Franz Schubert's Die Schone Mullerin, Kristen (Wargo) Kiekel

Senior Honors Theses

Franz Schubert's Die schone Mullerin was the first true song cycle of the nineteenth century. Known for his contributions and innovations in German Lieder composition, Schubert published this twenty-song cycle in 1824. Composed as a set of songs based on a collection of poems with a continuing story line, the influence of Die schone Mullerin on the art song is still in evidence today. Schubert's use of imagery, especially in the piano accompaniment, was one of his biggest contributions to the development of musical style in Lieder. Treating the piano part as more than just a simple chordal ...


Musical Emergence In Björk’S Medúlla, Victoria Malawey 2011 Macalester College

Musical Emergence In Björk’S Medúlla, Victoria Malawey

Victoria L. Malawey

No abstract provided.


Learning Mechanisms For Acquiring Knowledge Of Tonality In Music, Rikka Quam, Matthew Rosenthal, Erin Hannon 2011 University of Nevada, Las Vegas

Learning Mechanisms For Acquiring Knowledge Of Tonality In Music, Rikka Quam, Matthew Rosenthal, Erin Hannon

Festival of Communities: UG Symposium (Posters)

Most people think that musical knowledge is exclusive to trained musicians. Actually, casual music listeners have implicit knowledge of important structural aspects of music, such as tonality. Tonality contributes to the feeling of anticipation one would experience when hearing someone sing “do re mi faso la ti” without singing the final “do”. Knowledge of tonality may be learned through the statistics of music (Krumhansl, 1990). However, learning mechanisms have rarely been investigated experimentally (Creel et al., 2002). Artificial grammar learning experiments have shown that listeners can acquire highly structured knowledge such as syllable co-occurrence and language syntax through passive exposure ...


Solo Performance, Dana Wilson’S Liquid Ebony For Clarinet And Band, Bsu Symphonic Winds, Leslie Moreau 2011 Boise State University

Solo Performance, Dana Wilson’S Liquid Ebony For Clarinet And Band, Bsu Symphonic Winds, Leslie Moreau

Leslie M. Moreau

No abstract provided.


From Modality To Tonality: The Reformulation Of Harmony And Structure In Seventeenth-Century Music, Lukas Perry 2011 University of Puget Sound

From Modality To Tonality: The Reformulation Of Harmony And Structure In Seventeenth-Century Music, Lukas Perry

Summer Research

The syntax of common practice tonality creates the potential for expansive musical works, with almost guaranteed gratification for the listener through a harmonic interplay between tension and resolution. The evolution of common practice tonality from the older system of modes spans the sixteenth and seventeenth centuries. With a focus on the seventeenth century, this study endeavors to clarify how, when, and, to some extent, why the monumental shift between modality and tonality occurred. A discussion of crucial differences between the two systems of musical organization—mainly the melodic basis of the modes versus the harmonic basis of the tonal major ...


The Influence And Application Of Eastern Philosophy In The Western Musical Tradition, Matt B. Zavortink 2011 University of Puget Sound

The Influence And Application Of Eastern Philosophy In The Western Musical Tradition, Matt B. Zavortink

Summer Research

This paper documents my summer research on the philosophy of music. Specifically, my research focused on the connection between the philosopher Arthur Schopenhauer and the composer Richard Wagner, as is evident in the opera Tristan und Isolde. I composed a piece of music for the University of Puget Sound Wind Ensemble attempting to utilize both a more Eastern approach to Schopenhauer's philosophy, relative to Wagner's interpretation, and to incorporate 20th century developments in musical technique, theory and language.


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