Music Theory Commons^™

Syntagma Musicum Ii: De Organographia, Parts Iii – V With Index, Michael Praetorius, Quentin Faulkner Trans. & Ed.

Zea E-Books Collection

Michael Praetorius (1571–1621) achieved distinction as a practicing musician: as organist and Kapellmeister at Wolfenbüttel, Dresden and Magdeburg, and (in his later years) by incessant travel to fulfill commissions at various central German courts. Amid his travels Praetorius found time to publish an impressive series of collections of musical compositions, in all more than a thousand works. Praetorius’s three-volume Syntagma musicum (Musical Encyclopedia) belongs to the last years of his life. Volume I, Musicae artis analecta (1614/15, in Latin), treats principles and practices of religious music, from a decidedly Lutheran perspective. Volume II, De organographia (1619, in German) deals with …

A Composed Space, Adam S. Hogan

Graduate School of Art Theses

My practice is invested in expanding our conscious scope—revealing phenomena and observations, and presenting the information to the viewer through auxiliary channels. Using the language of minimalism, cinema, and abstraction I create technologically sophisticated systems to produce spaces of contemplation (a meditative space challenging the ephemeral relationships between our sensorial perceptions, space, and time).

Material, space, and technology become instruments for composition manifesting as silent experimental cinema (created and controlled sonically). My work seeks to illuminate our conscious scope through the succession of frames.

Mirrors, Zachary R. Ross

Undergraduate Honors Theses

MIRRORS is a cycle of songs composed for soprano voice and piano using five poems by Sylvia Plath. The work features the creation of a protagonist and tells a chronological story through the arrangement of the five poems colored and unified by the manipulation of a thematic twelve-tone row.

A Realization And Analysis : The Manifestation Of Franz Schubert Within Manuel Maria Ponce's Sonata Romantica., Parker S. Scinta

Electronic Theses and Dissertations

Within early twentieth-century guitar repertoire, Manuel María Ponce’s Sonata Romántica distinguishes itself in both quality and historical significance. The manifestation of Franz Schubert’s compositional idioms within this work exhibits Ponce’s intense understanding of Romantic harmonic and formal treatment, in addition to his imitative compositional ability. The main aim of this document is to discover the specific ways in which Ponce emulates Schubert by incorporating comparative and Schenkerian analyses. This investigation examines Ponce’s treatment of harmonic, motivic and formal structures to reveal the unique aesthetic qualities that distinguish the piece as a guitar sonata in the manner of Schubert. In particular, …

The Preservation Of Subjectivity Through Form: The Radical Restructuring Of Disintegrated Material In The Music Of Gerald Barry, Kevin Volans And Raymond Deane., Adrian Smith

Doctoral

This thesis examines Adorno’s concept of ‘disintegrated musical material’ and applies it to the work of the Irish composers Raymond Deane (b. 1953), Gerald Barry (b. 1952) and Kevin Volans (b. 1949). Although all three of these composers have expressed firm commitments to the ideal of creating new and radical works, much of the material in their music is composed of elements abstracted from the tonal past. This feature of their work would seem contrary to the views of Adorno, who is commonly seen as advocating progressive composition using only the most advanced means. This view comes across most strongly …

On Constructing A Sonic Gangbang: System And Subversion In Gerald Barry’S Chevaux-De-Frise, Mark Fitzgerald

Articles

This paper examines Chevaux-de-frise by Gerald Barry. The work is from a transitional period in Barry's work forming a bridge between the work of the 1980s (most notably The Intelligence Park) and the more polyphonic work of the 1990s. The paper describes Barry's use of canonic devices and his manipulation of found material before making some brief links to later works from Barry's output.

Formal Properties As The Basis For Value In Music, Thomas B. Yee

Global Tides

This paper defends the thesis that value in a piece of music is based in its formal properties rather than its non-formal properties. Two arguments are presented to support this conclusion. The first argument shows that if value in music is to be objective, then it must be grounded in a piece's formal properties rather than its non-formal properties. In the second argument, a number of alternate possibilities for grounding value in music are considered and shown to miss the mark or be inadequate. Finally, a number of possible objections against the arguments and conclusion are considered and possible responses …

Paul Moravec: Polystylism In Cool Fire (2001), Jennifer Kuk-Bonora

UNLV Theses, Dissertations, Professional Papers, and Capstones

The goal of this document is to provide a structural and stylistic analysis of Paul Moravec's chamber piece, Cool Fire (2001) within the context of Alfred Schnittke's polystylism. Fundamental polystylism is the use of two or more music styles within one composition and focuses on a more evolved portrayal of the style when, "there are no longer any direct quotations, but rather a certain element which indicates a `genetic refill' of memories." Techniques from Impressionism, Jazz, Baroque and Classical styles are utilized in Cool Fire.

The method of analysis will follow Jan La Rue's Guidelines for Style Analysis to better …

"Western Evening Vistas" For Concert Band, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by the UTEP Wind Symphony, conducted by Ron Hufstader.

Lawrence D. “Butch” Morris, Conduction And The Network Of Composition, Mark Zanter

Music Faculty Research

In Noise, The Political Economy of Music Jacques Attali outlines how musical practice presages periods of economic development. The current late capitalist, post-Fordist, stage resembles what Attali calls the “network of composition”; where codes are oriented toward receiving pleasure from instruments of communication, use, and exchange value is experienced not accumulated. Post-Fordism affords a climate in which new codes of use and exchange emerge through limited production, flexible labor, and increased information flow. These codes increasingly support choice, nonconformity, and free-expression. Improvised/creative music, free jazz, and forms where self-expression, exploration of human potential freed from production signify the emergence of …

Romantic Exoticism: The Music Of Elsewhere In The Nineteenth Century, Josiah Raiche

Senior Honors Theses

Western art music has drawn on many sources. One of these is non-western music, which can be integrated into European classical music tradition in the form of exoticism. This paper will highlight musical elements used by composers seeking to create exoticism, examine selected works, and note common elements of western music that have exotic roots. In the nineteenth century, there were three general trends in exoticism. The first, non-musical exoticism, utilizes conventional western music alongside extra-musical exotic elements. Romantic exoticism portrays distant lands using musical elements, drawing these from the audience’s perceptions of the music represented. Realistic exoticism attempts to …

Directional Tonality In Schumann's Early Works, Benjamin K. Wadsworth

Faculty Articles

Beginning and ending a work in the same key, thereby suggesting a hierarchical structure, is a hallmark of eighteenth- and nineteenth-century practice. Occasionally, however, early nineteenth-century works begin and end in different, but equally plausible keys (directional tonality), thereby associating two or more keys in decentralized complexes. Franz Schubert’s works are sometimes interpreted as central to this practice, especially those that extend third relationships to larger, often chromatic cycles. Robert Schumann’s early directional-tonal works, however, have received less analytical scrutiny. In them, pairings are instead diatonic between two keys, which usually relate as relative major and minor, thereby allowing Schumann …

Variations On A Russian Folk Song, Brian R. Denu

Student Publications

This piece for solo piano demonstrates a wide range of techniques utilized in twentieth century composition. The theme is taken from the Finale of Igor Stravinsky's ballet "The Firebird", which itself is based on a Russian folk song. Each subsequent variation focuses on one or more compositional technique.

I. Theme

II. March (chords by thirds, extended triads)

III. Molto grave e expressivo (chromaticism)

IV. L'istesso tempo (ten-tone row)

V. Fast and light (twelve-tone row, secundal harmony)

VI. Much less (minimalism, extended techniques)

VII. Hazy (quartal harmony, modal melody)

VIII. Finale (spectralism)

The order of the variations partly reflects a chronological …

Book Reviews, John M. Cipolla

Music Faculty Publications & Performances

Book reviews by John Cipolla of:

• Mandat, Eric. Chips Off the Ol' Block for Solo Bass Clarinet
• Rossini, Gioachino & Carlos Pässler. Divertimento for Clarinet & Piano
• del Aguila, Miguel. Pacific Serenade, Op. 59 for Clarinet & String Quartet
• Wilson, Jeffrey. Colour Studies for Clarinet

A Survey Of The Sacred Choral–Orchestral Works Of Sir Henry Walford Davies (1869–1941), Martin C. Cook

Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performances

In the closing years of the 19th Century, when Charles Villiers Stanford, Hubert Parry and Edward Elgar were at the height of their fame and influence in British musical society Henry Walford Davies emerged as one of the most promising talents of the day, receiving commissions from the provincial music festivals of Great Britain, which were a rite of passage for emerging composers.

Between 1904 and 1929 Davies produced eleven sacred choral-orchestral works for these festivals and one further work, which were received favorably in their day but are now almost forgotten. There are five large multi movement works: The …

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.

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 …

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 …

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

Selected Works Temporary Series

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"

A Metrical Analysis And Rebarring Of Paul Creston's Sonata For Alto Saxophone And Piano, Op. 19, Christopher Kyle Sweitzer

Glenn Korff School of Music: Dissertations, Theses, Student Creative Work, and Performances

The Sonata For Alto Saxophone and Piano Op. 19 is one of the most popular pieces in the saxophone literature, commonly played by professional saxophonists during their training. It features exciting rhythmic devices like irregular and mixed meter, the notation of which is the main focus of this paper. Although Creston often used irregular and mixed meter in his compositions, he rarely specifically notated them, choosing instead to use accents, beams, slurs, and other phenomenal cues at the musical surface to create the effect of these metric plans. Time signatures often remained constant throughout entire movements. Creston believed this would …

Brahms, Opus 32: The Forgotten Cycles, Patrick Russell

Undergraduate Research Conference

A song cycle may be loosely defined as a set of works for solo voice and piano intended for performance as a whole, and in a predetermined order. Established by such composers as Beethoven, Schubert and Schumann, cycles are typically characterized by a deliberate structure, the texts of which are almost without exception by the same author. So conventional is the practice of containing the settings of a single poet, it may be considered a prerequisite. Song cycles are also distinguished, therefore, by one or more unifying elements originating in the poetry, such as literary themes or narration. It is …

Woodwind Extension Through The Systematic Use Of Microtonality And Electronic Manipulation Of The Instrument, Seán Mac Erlaine

Conference papers

This research questions how the expressive range of the saxophone / bass clarinet can be extended in new ways by employing both a systematic use of microtonality and electronic manipulation of the instrument.

The use of digital signal processing (DSP) is well advanced among certain music practitioners, most notably electric guitarists, extending that instrument’s expressive powers considerably. Woodwind instrumentalists have a huge unexplored potential to engage with new technologies, furthering the range, polyphonic voicings, loops, reverbs and general signal manipulation.

The marraige of these two disciplines with conventional woodwind practice greatly deepens the expressive range of the instrument while offering …

A Woodland Symphony For Chamber Orchestra, Curtis Pennington

All-Inclusive List of Electronic Theses and Dissertations

1bis thesis entitled A Woodland Symphony for Chamber Orchestra presents a symphonic work written in three movements scored for two flutes, two oboes, two clarinets in B-flat, two bassoons, two horns in F, two trumpets in B-flat, two trombones, harp, percussion {timpani, snare drum, bass drum, cymbals), eight first violins, six second violins, four violas, four cellos, and two double basses. It represents the culmination of the Master of Music degree in Composition. In addition to the score of the symphony, there is an analysis of some key components of the symphony's harmonic language. These are contrasted with the harmonic …

"Korean Psalm (Psalm 23)" For Tenor Voice And Piano, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by Sang-In Han (tenor) and Dominic Dousa (piano). The work is a setting of selected verses of Psalm 23 in Korean. It was composed for Dr. Han's lecture recital of Korean Art Song.

"Departed Days" For Satb Choir And Piano, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by the UTEP University Chorale, conducted by William McMillan.

"Hymn Of Trust" For Satb Choir And Piano, Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by the UTEP University Chorale, conducted by William McMillan.

"Mountain Song" For Viola And Piano (Lubbock, Tx), Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by Renee Skerik (viola, Texas Tech University) and Susan Wass (piano, Texas Tech University).

Recital, Utep Faculty Recital Series (April 4, 2009), Dominic Dousa

Selected Works Temporary Series

A faculty recital presentation by Melissa Colgin-Abeln (flute), Orit Eylon (mezzo soprano), Michael Way (graduate student, cello) and Dominic Dousa (piano).

Conductor's Guide To Mark Camphouse's "To Build A Fire", Amanda L. Kastner

Senior Honors Theses

This thesis is a guide to understanding and performing Mark Camphouse’s composition, To Build A Fire. The thesis includes a biography of Jack London and a literary analysis of London’s short story “To Build A Fire,” upon which the composition is based. Musical analysis of the Camphouse composition, rehearsal considerations, and performance considerations are also discussed. The literary analysis provides background for the composition and a starting platform for the musical analysis. The musical analysis parallels the composition with the short story. This analysis also provides some technical considerations of the instrumental parts. The rehearsal considerations include a rehearsal plan, …

"Mountain Song" For Viola And Piano (Cleveland, Oh), Dominic Dousa

Selected Works Temporary Series

A performance of my original composition by Renee Skerik (viola, Texas Tech University) and James Housman (piano, Oberlin College).