Musicology Commons^™

Music As A Representational Medium: Representation In Arnold Schoenberg's "A Survivor From Warsaw", Lucy S. Terrell

Masters Theses

In 1976, Roger Scruton, and English conservative philosopher and writer, dubbed music a non-representation medium. This assertion has resulted in debate among many prominent scholars, and, despite numerous dissenting opinions, Scruton’s premise has persisted as an accepted premise for some scholars in Western music study. In this paper, I survey and analyze prominent writings debating the topic of music as a representational medium, compiling arguments for and against his five criteria for representational art. I then discuss Arnold Schoenberg’s A Survivor from Warsaw in its context as a piece of representational music. In Schoenberg’s work, I use twelve-tone theory, contour …

Les Vosges A Suite For Orchestra, Glenn Robert Kahler

Masters Theses

Les Vosges, a programmatic suite for orchestra in three movements, features dance-like rhythms, folksong-influenced melodies, and formal characteristics and stylistic qualities that combine elements of modern composition with those reminiscent of Baroque dance. Les Vosges was composed in partial fulfillment of the requirements of the degree Master of Music with a concentration in Composition from the University of Tennessee, Knoxville.

This paper offers a supplementary analysis of the Les Vosges while referencing influential compositions and composers of the last century (Milhaud, Grofe, Kodaly, and Holst) regarding musical parameters of form, melody, harmony, rhythm and meter, and genre.

Exodus Concerto For Guitar And Chamber Orchestra, Spencer Joel Kappelman

Masters Theses

Exodus is a four-movement composition for solo guitar accompanied by a chamber orchestra. This piece is composed in partial fulfillment of the requirements of the degree Master of Music with a concentration in Music Composition from the University of Tennessee, Knoxville. Exodus was composed during the 2010-2012 academic years.
This paper provides a narrative analysis of Exodus in terms of its musical content, and relationships to other composers of the last century. Similarities to these composers refer to form, orchestration, melody, harmony, rhythm, and meter.

An Explanation Of Anomalous Hexachords In Four Serial Works By Igor Stravinsky, Robert Sivy

Masters Theses

Igor Stravinsky's precompositional process was so methodical that his move to serialism is no surprise. After becoming acquainted with the music of Schoenberg and Webern, Stravinsky was moved to experiment with serial techniques. He rejected many of the conventional approaches developed by the serial architects, only to adopt the technique at its basic form—the use of a series of pitches—and cultivate it into his own compositional style. Stravinsky continued to refine his style throughout his serial period (1951–1966) as each composition grew increasingly more serial than the last. For each work composed after 1960, Stravinsky constructed rotation arrays, a serial …