Musicology Commons^™

The Integration Of The Style Hongrois Into Brahms’S Musical Language In His Chamber Works, Raymond D. Truong

Electronic Thesis and Dissertation Repository

The style hongrois is a musical language that Western European composers used to evoke the style of the Hungarian music performed by Romani musicians. This monograph explores the use of the style hongrois in the chamber works of Johannes Brahms. He uses this style often, to the point where it is integrated into his musical language. To understand where this language came from, this monograph provides a historical context of Hungary (the country of origin), the Roma who resided there and migrated westwards, and their musicians.

The second part of this monograph explores the integration of the style hongrois into …

The Alia Musica And The Carolingian Conception Of Mode, Matthew R J Nace

Electronic Thesis and Dissertation Repository

The Alia musica is perhaps the most idiosyncratic of the early treatises on the ecclesiastical modes. It is a composite made up of at least three independent treatises and additional commentary, and the majority of the scholarly attention that it has thus far received has been devoted to questions of dating and authorship, as well as to the place of the Alia musica in the development of the octave species paradigm of modality. However, the majority of the treatise is dedicated to the explanation of a complex harmonic numerology that applies the fundamental relation 12:9:8:6 (which generate the intervals of …

Teleology In César Franck's Prélude, Choral Et Fugue, Stephanie Gouin

Electronic Thesis and Dissertation Repository

César Franck’s Prélude, Choral et Fugue is a fine example of the composer’s mature style and contribution to musical form and language at the end of the nineteenth century. The use of a Baroque structure, such as the fugue, has a significant impact on the overall unfolding of this Romantic work. A teleological perspective will inform the analysis of the Fugue, which will constitute the core of the study. It will use concepts of design and purpose in order to explain the development of the piece as a whole, and the transformation of the musical language within the Fugue in …

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 …

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 …

Aspects Of Newtonianism In Rameau’S Génération Harmonique, Abigail Shupe

Electronic Thesis and Dissertation Repository

This dissertation studies the influence of Newtonianism as a cultural phenomenon on the theoretical writings of Jean-Philippe Rameau (1683-1764). Rameau’s Génération harmonique (1737) shows a change in his thinking from his earlier work that bears witness to the debates around Newtonian science in the scientific community. Scholars have discussed possible connections between Génération harmonique and Newton’s Opticks (1704) but none has studied this issue in detail. I argue that Rameau was influenced by Newtonianism rather than by Newton’s works, and that Rameau was not always aware of this influence. In order to situate Rameau’s work within the larger body of …