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Motion As Music: Hypermetrical Schemas In Eighteenth-Century Contredanses, Alison N. Stevens

Masters Theses

An important part of the recent growth in scholarship on meter focuses on reconstructing 18th-century listening practices. Danuta Mirka (2009) studies contemporary accounts of meter in theory treatises to build a model of 18th-century metric listening, while Stefan Love (2016) takes a corpus studies approach, arguing that surveying repertoire provides a more accurate view of meter than 18th-century theorists. But despite the known debt that much 18th-century art music owes to dance and dance music, Mirka and Love only briefly mention dance. In touching so lightly on dance, these and other authors overlook the more fundamental connection between meter and …

Meter In French And Italian Opera, 1809–1859, Nicholas Shea

Masters Theses

Current and historical methods of metric analysis often assume that the first beat of a metric group is stronger than the second. This, however, is not the case in all repertoires. For example, a study by William Rothstein (2011) demonstrates that Verdi’s midcentury operas often place emphasis on even-numbered beats. This paper shows this metric trend to be even more prevalent in a corpus of 208 nineteenth-century operatic excerpts, (1809-1859).

I present a formal model that classifies phrases according to anacrusis length and prosodic accent, showing where large-scale metric accents fall within a phrase. This model produces three metric types …

The Impact Of Rhythm And Meter On Form In Two Works By David Maslanka: Mother Earth: A Fanfare (2003) And Symphony No. 8 (2008), Renee K. Morgan

Masters Theses

For pieces that do not lend themselves to an analysis of form based completely on tonal harmony and thematic material, an analysis based on rhythm and meter can enrich the reading of a piece and prove to be a more successful endeavor for the analyst. This thesis will provide such a form analysis of Mother Earth: A Fanfare (2003) and Symphony No. 8 (2008) by David Maslanka, paying special attention to the rhythmic and metrical events in addition to shifts in theme, texture, and harmony.

Chapter 1, “Introduction,” addresses information about the composer, the need for research, and challenges that …