Open Access. Powered by Scholars. Published by Universities.®
- Keyword
- Publication Type
Articles 1 - 3 of 3
Full-Text Articles in Music Theory
J. S. Bach's Modal Compositional Practice In The Chorale Preludes For Solo Organ: A Schenkerian Perspective, Michael Fitzpatrick
J. S. Bach's Modal Compositional Practice In The Chorale Preludes For Solo Organ: A Schenkerian Perspective, Michael Fitzpatrick
Electronic Thesis and Dissertation Repository
This dissertation proposes a Schenkerian perspective of J. S. Bach’s modal compositional practice in his chorale preludes for solo organ. It develops two major themes: first, a viable framework for reconciling Schenker’s theory of tonality with the kind of composition that Bach’s modal music exemplifies (chapter 3); and second, a definition of Bach’s modal compositional practice in the chorale preludes as revealed through analysis of the repertoire (chapter 4). Additionally, the dissertation explores the pertinence of traditional modal theory to Bach’s modal music (chapter 1), confronts Schenker’s evaluation of modal composition (chapter 1), and responds to other scholarly work in …
A Study Of Form And Structure In Pierre Boulez's Pli Selon Pli, Emily J. Adamowicz
A Study Of Form And Structure In Pierre Boulez's Pli Selon Pli, Emily J. Adamowicz
Electronic Thesis and Dissertation Repository
In his 1963 treatise, Penser la musique aujourd’hui, Pierre Boulez proposes that there should be no distinction between serial materials and large-scale form. After his self-professed failure with Structures 1a and Polyphonie X due to the incapacity of the twelve-tone series to provide form in and of itself, Boulez reassessed and expanded his compositional approach to include what he refers to as “indiscipline,” which permitted him a new freedom to modify his materials as he saw fit through a plethora of new techniques, and to link these materials to large-scale forms that take their inspiration largely from literary influences. …
A “New Harmony”: Intertextuality And Quotation In Toru Takemitsu’S Folio Iii, Rebecca Shaw
A “New Harmony”: Intertextuality And Quotation In Toru Takemitsu’S Folio Iii, Rebecca Shaw
2015 Undergraduate Awards
The last in a set of three pieces, Folio III (1974) by Toru Takemitsu (1930–1996) was the composer’s first foray into solo classical guitar composition. Although Takemitsu’s guitar works are often overlooked or examined sparingly at best, Folio III is a complex composition that warrants exploration. It combines aspects of chromatic saturation and octatonicism with Baroque-era tonality via the quotation of Chorale No. 72 “O Haupt voll Blut und Wunden” from the St. Matthew Passion (1727) by Johann Sebastian Bach (1685–1750). This essay blends theoretical analysis with aspects of Takemitsu’s philosophy to clarify the significance of the chorale’s quotation to …