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

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 means that incomplete …

Snapshots, Cynthia L. Wong

Dissertations, Theses, and Capstone Projects

For all instruments:

Linger slightly on the first note of a glissando in order to make the pitch distinguishable.

For the piano / celesta:

The piano / celesta is set up in an L-shape so that the celesta is in the front and the piano is to the left of the player. The right side of the piano keyboard can touch the left side of the celesta at or around the celesta's Ab below middle C (the lowest celesta note written in this piece). The L.H. invariably plays the piano, though the R.H. switches between the piano and celesta.

Duration: …

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

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.