Musicology Commons^™

Musical Forces In Claude Vivier’S Wo Bist Du Licht! And Trois Airs Pour Un Opéra Imaginaire, Emilie L. Marshall

Electronic Thesis and Dissertation Repository

Claude Vivier’s (1947–1983) idiosyncratic and moving composition style often evades traditional, pitch-centred approaches to music-theoretical analysis; however, the somatic and sensual qualities of his style encourage a metaphorical appreciation of his music. This study analyses Wo bist du Licht! (1981) and the first two airs from Trois airs pour un opéra imaginaire (1982), which both feature his technique sinusoïdale, from the perspective of conceptual metaphor and musical forces. At the centre of this study are the dominant conceptual metaphors that linguist George Lakoff and philosopher Mark Johnson identify as being integral to our understanding of time, and which music …

The Copyright Board And Tribunals Process: Users In The Balance, Louis J. D'Alton

Electronic Thesis and Dissertation Repository

The wholesale adoption of copyright collective management as public policy tool has had an extraordinary impact on the information landscape. The unfettered expansion of collective rights organizations throughout the 20^th century has resulted in increased social costs and a burgeoning bureaucracy surrounding the collective use of rights.

This thesis considers the role of copyright tribunals within that process, and more importantly within a critical historical frame. While some work has been done with respect to copyright tribunals and their role in the policy process, none of it has considered the tribunals within a critical frame. This thesis considers those …

An Analysis Of Les Yeux Clos Ii By Toru Takemitsu, Jason Mile

2016 Undergraduate Awards

This paper presents an analysis for Les Yeux Clos II (1989), a solo piano piece written by Toru Takemitsu, based on a lithograph by Odilon Redon. The piece falls within Takemitsu’s “Third Period” which Timothy Koozin describes as a combination of “Western syntax” and “Japanese tradition.” By identifying the influences of Western composers, such as John Cage and Olivier Messiaen, and Japanese tradition, this paper analyzes the extent to which both Western and Eastern traditions can be identified in this piece. Based on comments by Takemitsu and John Cage, the form of the piece is defined by means of motivic …