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Granroth-Wilding, Mark Thomas. "Harmonic analysis of music using combinatory categorial grammar." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8019.
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Various patterns of the organization of Western tonal music exhibit hierarchical structure, among them the harmonic progressions underlying melodies and the metre underlying rhythmic patterns. Recognizing these structures is an important part of unconscious human cognitive processing of music. Since the prosody and syntax of natural languages are commonly analysed with similar hierarchical structures, it is reasonable to expect that the techniques used to identify these structures automatically in natural language might also be applied to the automatic interpretation of music. In natural language processing (NLP), analysing the syntactic structure of a sentence is prerequisite to semantic interpretation. The analysis is made difficult by the high degree of ambiguity in even moderately long sentences. In music, a similar sort of structural analysis, with a similar degree of ambiguity, is fundamental to tasks such as key identification and score transcription. These and other tasks depend on harmonic and rhythmic analyses. There is a long history of applying linguistic analysis techniques to musical analysis. In recent years, statistical modelling, in particular in the form of probabilistic models, has become ubiquitous in NLP for large-scale practical analysis of language. The focus of the present work is the application of statistical parsing to automatic harmonic analysis of music. This thesis demonstrates that statistical parsing techniques, adapted from NLP with little modification, can be successfully applied to recovering the harmonic structure underlying music. It shows first how a type of formal grammar based on one used for linguistic syntactic processing, Combinatory Categorial Grammar (CCG), can be used to analyse the hierarchical structure of chord sequences. I introduce a formal language similar to first-order predicate logical to express the hierarchical tonal harmonic relationships between chords. The syntactic grammar formalism then serves as a mechanism to map an unstructured chord sequence onto its structured analysis. In NLP, the high degree of ambiguity of the analysis means that a parser must consider a huge number of possible structures. Chart parsing provides an efficient mechanism to explore them. Statistical models allow the parser to use information about structures seen before in a training corpus to eliminate improbable interpretations early on in the process and to rank the final analyses by plausibility. To apply the same techniques to harmonic analysis of chord sequences, a corpus of tonal jazz chord sequences annotated by hand with harmonic analyses is constructed. Two statistical parsing techniques are adapted to the present task and evaluated on their success at recovering the annotated structures. The experiments show that parsing using a statistical model of syntactic derivations is more successful than a Markovian baseline model at recovering harmonic structure. In addition, the practical technique of statistical supertagging serves to speed up parsing without any loss in accuracy. This approach to recovering harmonic structure can be extended to the analysis of performance data symbolically represented as notes. Experiments using some simple proof-of-concept extensions of the above parsing models demonstrate one probabilistic approach to this. The results reported provide a baseline for future work on the task of harmonic analysis of performances.
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McKee, David Frank. "ALABAMA SUMMER: SUITE FOR ORCHESTRA WITH STRUCTURAL AND HARMONIC ANALYSIS." Lexington, Ky. : [University of Kentucky Libraries], 2008. http://hdl.handle.net/10225/776.
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Thesis (D.M.A.)--University of Kentucky, 2008.<br>Title from document title page (viewed on May 13, 2008). Document formatted into pages; contains: vii, 114 p. : ill., music. Includes abstract and vita. Includes bibliographical references (p. 112).
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Telesco, Paula Jean. "A HARMONIC ANALYSIS OF SELECTED PIANO MUSIC OF EMMANUEL CHABRIER." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275317.
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Yie, HyounKyoung. "Harmonic syntax in Delius's late period chamber music (1905-1930)." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1206316836.
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Russell, Michael L. "The Phenomenology of Harmonic Progression." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703408/.
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This dissertation explores a method of music analysis that is designed to reflect the phenomenology of the listening experience, specifically in regards to harmony. It is primarily inspired by the theoretical approaches of the music theorist Moritz Hauptmann and by the writings of philosopher Edmund Husserl.
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Faria, Gomes Pedro. "Creating harmonic functionality in post-tonal music : a composer's perspective." Thesis, Royal College of Music, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606558.
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The notion of harmonic ‘function’ was introduced by Riemann in 1891 to describe aspects of tonal music, but, as musical language evolved, its meaning and application developed beyond the premise of tonality. This study re-evaluates the relevance of harmonic functionality for composers today, through a reassessment of what may constitute functionality in post-tonal music and a practical exploration of the concept in ten new compositions. The general openness of harmonic systems since the 1980s has led composers across a variety of aesthetic standpoints to often combine diverse types of harmonic material in one same piece; this thesis argues that, within such a framework, harmonic functionality is potentially an important instrument of coherence, strength and inventiveness in the musical argument. The first part examines the main terminology, including the notions of ‘harmony’, ‘post-tonality’ and the origin and development of the idea of ‘harmonic functionality’. Several composers and theorists are considered, with a particular focus on Riemann. The second part centres on the ten compositions, particularly on Nachtmusik, with both detailed and large-scale analysis aiming to clarify how each piece informed specific aspects of the study. For the sake of comparison, aspects relating to harmonic functionality in other composers’ work are also discussed, namely in Stravinsky’s Requiem Canticles and Adès’ Polaris and Tevot. It is concluded that harmonic functionality is generally related to formal functions, and that the combined action of pitch and other parameters establishes functional properties very much depending on musical context. Certain elements play a central role in the definition of functionality: 1) sense of direction; 2) recurrence and change; 3) hierarchy; 4) pitch polarity; 5) extra-musical meaning. The creation of harmonic functionality in post-tonal music is a problem which composers often deal with intuitively in their practice, and the notion is still frequently considered in a strictly tonal sense by theorists; through the clarification and discussion of the process in post-tonality, its potential is likely to be more fully explored, both theoretically and practically.
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Castillo, Jorge. "Formal and harmonic analysis of Juan Crisostomo de Arriaga's Symphony in D." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/2078.
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The short, and rather intense, life of Juan Crisóstomo de Arriaga represents a great tragedy for Spain's musical history, since, had him lived longer, it is believed that this Spanish composer could have matched the mastery and accomplishments of geniuses such as Bach, Mozart or Beethoven. His sudden death at the young age of nineteen (he died ten days before he turned twenty) voided such promise.
The purpose of this paper is mainly the formal and harmonic analysis of his symphony in D, and in addition, to trace the most significant events of Arriaga's life and to provide relevant information about his music, published scores, and available discography.
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Byrne, David A. "The Harmonic Theories of Sigfrid Karg-Elert: Acoustics, Function, Transformation, Perception." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1522417315389199.
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Maluf, Shireen. "Paths not taken : structural-harmonic ambiguities in selected Brahms Intermezzi." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23342.
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One of the remarkable features of Brahm's B-flat major Intermezzo for piano, Op. 76, no. 4 is the ambiguity of its tonal definition. The work disclosed a contrapuntal tension between its fundamental structural-harmonic organization, which is based on an incomplete harmonic progression (V7-I), and its more remote intermediary tonal areas, which Brahms implies throughout the Intermezzo but to which he never wholly commits.<br>The aim of this investigation is to illustrate how tonal ambiguity is achieved though recurrent "incompletions" of the expected (or at least the more likely) harmonic progressions. The thesis undertakes a detailed study of Brahms' Intermezzo, Op. 76, no. 4, in B-flat major, with additional reference to the openings of Opp. 118, no. 1 (A minor); 118, no. 6 (E-flat minor); 119, no. 1 (B minor); 117, no. 2 (B-flat minor) and 76, no. 8 (C major). The study combines a Schenkerian linear-reductive approach with observations based on phenomenology--after Leonard Meyer and David Lewin--and narrative, after Edward T. Cone.
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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.
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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
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Gerber, Michael. "Harmonic, melodic, and rhythmic analysis of four original compositions, along with performance considerations." FIU Digital Commons, 2007. https://digitalcommons.fiu.edu/etd/3577.
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The purpose of this thesis was to demonstrate the character, mood, and style of four original compositions. Each composition was thoroughly analyzed according to form, melodic content, harmonic content, rhythmic content, and technical elements related to performance aspects. These original compositions are highly technical, rich in dynamic shadings, and melodic and rhythmic intensity. Each composition is inspired by life experience, and attempt to provide a narrative to showcase a four-decade career in jazz performance.
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Harrisberg, Shelley-Anne. "A structural, harmonic and stylistic analysis of Gabriel Fauré's Piano Quartet in C Minor Op. 15." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8149.
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Includes abstract.<br>Includes bibliographical references (leaves 296-299).<br>Faure's oeuvre presents one of the most outstanding accomplishments in the history of French music. His style, though showing the influence of late-Romantic music, is unique and comprises some of the most inventive harmonic language to be found in Western music. It is characterised by the complex integration of advanced tonal and modal procedures. The purpose of this study is to examine certain aspects of Faure's style through an analysis of the composer's First Piano Quartet in C minor Op.15.The study is divided into two sections: a structural analysis which examines the overall formal structure of the work, as well as the larger and smaller formal structures within each movement, and a harmonic analysis which examines how Faure uses certain chord structures and harmonic procedures.The main source used for the study was the score of the Piano Quartet itself. Other major sources which proved invaluable in terms of providing a background to the composer's life, work and style, include works by Charles Koechlin, Percy Suckling, Robert Orledge and Jean-Michel Nectoux. Other works by Faure as well as those of other late-Romantic composers are used to compare or establish common stylistic tendencies and to examine possible influences. The conclusions are drawn directly from the analysis and are supported by various source materials. Those on formal structure include observations on Faure's use of sonata form and ternary form, his approach to thematic development, motivic elaboration, phrasing and texture, and his use of contrapuntal and rhythmic devices. Those on harmony are primarily concerned with the influence of modality on Faure's approach to harmony and include observations on Faure's use of triads, quru1ads, quintads, sextads and ambiguous compounds, and of pedal points and other non-chord notes.
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Ballard, Jack Du Wayne MacDonald George. "Part one, the castle part two, hyperextended chord tones : chromatic consonance in a tertian context /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1228157561.
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Thesis (Ph. D.)--Kent State University, 2008.<br>Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Ralph Lorenz. Keywords: jazz, music, theory, George Macdonald, ballet, harmony, tertian, harmonics analysis, dissonance, consonance, orchestra. Includes bibliographical references (p. 130-140).
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Wu, Siyu. "Harmonic and Rhythmic Transformation in Ligeti's Harpsichord Compositions: A Comparative Analysis of Continuum, Hungarian Rock and Passacaglia Ungherese." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1595470695585872.
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Kipling, Diane. "Harmonic organization in Les mamelles de Tirésias by Francis Poulene." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23222.
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The opera bouffe Les mamelles de Tiresias (1944) by Francis Poulenc (1899-1963) stands at the crossroad between the composer's formative and mature works. The opera exhibits a number of harmonic features characteristics of Poulenc's eclectic, idiosyncratic style. This thesis attempts to address the lack of attention given this work in particular and Poulenc's output in general.<br>The thesis consists of two volumes. Volume I contains the introduction, three chapters and the conclusion. Volume 2 contains musical examples, analytical graphs and reproductions of Act 1, Scenes 1 and 2, and Act 2, Scenes 7 and 8 from the piano-vocal score of Les mamelles de Tiresias.<br>The first chapter of Volume 1 reviews two Ph.D. dissertations that examine Poulenc's harmonic language; and summarizes the more recent analyses by Vivan Wood, Pamela Poulin and Keith Daniels. Figures (the musical examples) for Chapter 1 are given in Volume 2.<br>Chapter 2 of Volume 1 examines the large-scale harmonic organization in pivotal scenes that are representative of the musical language in the opera.<br>Chapter 3 of Volume I extends Warren Werner's and Richard Bobbitt's approach to show how local events and large-scale harmonic motions can be viewed as leitmotives that symbolize key events in the drama. Figures (the musical examples) and Graphs (the analytical graphs) for Chapter 3 are given in Volume 2.<br>The conclusion reviews there observations of the study and makes some general remarks about Poulenc's harmonic language. (Abstract shortened by UMI.)
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Hahn, Stephen (Stephen Ernst). "Continuous Harmonic Structure in J.S. Bach's Triple Fugues in The Well-Tempered Clavier and Art of Fugue." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538652/.
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This thesis explores how the harmonic structures of J.S. Bach's triple fugues interact with their formal, contrapuntal designs. It attempts to explain how each of these elaborate fugues is supported by a single, uninterrupted structure that holds the entire work together. In Bach's fugues one generally encounters large-scale goal-directed motion towards the concluding tonic; this continuous harmonic motion towards the final tonic is consistent with the aesthetics of the Baroque style, which valorizes constant motion or dynamism.
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Li, Chao (Conductor). "Liszt's Portrayal of Goethe's Faust Using Flat 6th Scale Degree as Harmonic Organizing Principle in the Faust Movement from His Faust Symphony." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505162/.
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Franz Liszt's Faust Symphony has suffered neglect since its premiere in 1857. The analysis in this study aims to clarify some of the misunderstandings which have led to this neglect, particularly concerning Liszt's formal structure and character portrayal. In the Faust movement, the flat 6th scale degree (♭6) plays a prominent role in harmonic organization. Nineteenth-century composers sometimes used the distinct sonic color of chromatic-third progressions, as Liszt does here between C and E rather than diatonic movement by fifth to evoke a distant dream-world state. Liszt's conspicuous and form-defining use of ♭6 in the Faust movement suggests fantasy and mysterious elements ripe for programmatic interpretation. In this dissertation, I will attempt to clarify how Liszt portrayed the character of Faust by using the flat 6th scale degree as a crucial harmonic organizing principle in the Faust movement.
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Jarvis, Brian Edward. "Formal Structure in Puccini's Suor Angelica: Expanding Hepokoski's Rotational Analysis." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1307806816.
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Lima, Rodrigo da Silva. "Da nota ao som : explorando territorios harmonicos." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284073.
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Orientador: Silvio Ferraz Mello Filho<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T18:09:21Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009<br>Resumo: Este trabalho tem por finalidade avaliar determinados aspectos que nortearam algumas das principais especulações realizadas no campo da harmonia na música do século XX. Dentre os objetivos estiveram presentes: apontar as premissas e estratégias que fizeram parte de cada novo território harmônico, bem como explorar a idéia do uso de "matrizes harmônicas" como princípio composicional. Aliado a isso, ressaltamos também as relações entre as estratégias composicionais, via manipulação de alturas, e suas resultantes enquanto timbre e sonoridade. Para tanto, foram escolhidos compositores que em algum momento fizeram do timbre harmônico e da matéria sonora mais um elemento caracterizante dentro do processo composicional. Dentre os compositores figuraram: Claude Debussy, Arnold Schoenberg, Igor Stravinsky, Edgard Varèse, Pierre Schaeffer, Olivier Messiaen, Pierre Boulez e Flo Menezes. No caso de Varèse, justificamos sua significativa presença no trabalho por julgarmos sua relação com a matéria sonora, seu próprio material composicional, precursora na música do século XX. Por este motivo, fez-se necessário uma análise de Intégrales visando uma maior aproximação do seu idioma composicional e de suas estratégias para a escrita do timbre. Paralelamente aos estudos, tivemos como resultado uma série de obras compostas pelo autor onde a utilização de "matrizes harmônicas" passou a ser um aspecto relevante para o processo composicional, uma espécie de guia da sonoridade.<br>Abstract: This study has the goal of evaluating certain aspects that guided some of the main speculations in harmony in twentieth-century music. Among its objectives are: to point out the premisses and strategies that took part in each new harmonic territory, as well as to explore the use of harmonic matrixes as a compositional principle. At the same time we underline how compositional strategies relate by means of pitch manipulation, and their results in timbre and sonority. To achieve this, we chose composers that in some point made use of harmonic timbre and sound matter as a distinctive element in the compositional process. Among them stand: Claude Debussy, Arnold Schoenberg, Igor Stravinsky, Edgard Varèse, Pierre Schaeffer, Olivier Messiaen and Pierre Boulez. In Varèse's case, we justify his significant appearance by judging his relation to sound matter, and his own composition material, as pioneering in twentieth-century music. For this reason, an analysis of Intégrales became necessary, aiming at a closer approach to his musical idiom and his strategies for the writing of timbre. Besides the studies, we had as a result a series of works composed by the author in which the use of harmonic matrixes became a relevant feature in the compositional process, a sort of a guide to sonority.<br>Mestrado<br>Mestre em Música
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Attilli, Maurizio. "A Comparative Analysis of Harmonic Language in the First Movements of Fauré’s Requiem, Poulenc’s Gloria and Stravinsky’s Symphony of Psalms." University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1133196113.
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Woodruff, Scott David. "A Comparison of Four Works by Two Recognized Leaders of the Tin Pan Alley Style." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1247692297.
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Wu, Chia-Ying (Charles). "The Aesthetics of Minimalist Music and a Schenkerian-Oriented Analysis of the First Movement "Opening" of Philip Glass' Glassworks." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc10975/.
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Philip Glass' Glassworks (1981) is a six-movement composition for two flutes, two soprano saxophones/clarinets, two tenor saxophones/bass clarinets, two French horns, violas, cellos, and the DX7 electric piano. Glassworks consists of six movements titled "Opening," "Floe," "Island," "Rubric," "Facades," and "Closing." This thesis covers the first movement "Opening." Repetition in musical minimalism confronts traditional prescriptive codes of tonal music and post-tonal music. While challenging the traditional codes, repetition in musical minimalism established new codes for listening to minimal music. This thesis explores the implications of these ideas.
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Romero-García, Gonzalo. "Mathematical Morphology for the Analysis and Generation of Time-Frequency Representations of Music." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS554.
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Cette thèse explore l'application de la Morphologie Mathématique à l'analyse et la génération de musique, en se concentrant sur deux représentations en temps-fréquence : les spectrogrammes et les piano rolls. La morphologie mathématique est un outil de traitement des images non linéaire qui sert à considérer des notions topologiques de l'image. Nous présentons trois applications. La première est d'analyser des spectrogrammes avec des outils morphologiques pour obtenir des paramètres avec lesquels synthétiser un son d'instrument de musique. La deuxième est de générer des piano rolls avec deux paramètres musicaux, la texture et l'harmonie, en les disposant grâce à la dilatation morphologique. La troisième est d'appliquer des opérateurs morphologiques pour analyser des piano roll à l'aide de la théorie des graphes. La thèse propose donc de nouvelles approches pour des problèmes d'analyse sonore et musicologie computationnelle<br>This thesis explores the application of Mathematical Morphology to the analysis and generation of music, focusing on two time-frequency representations: spectrograms and piano rolls. Mathematical Morphology is a nonlinear image processing tool that serves to consider topological notions of the image. We present three applications. The first is to analyze spectrograms with morphological tools to obtain parameters with which to synthesize a musical instrument sound. The second is to generate piano rolls with two musical parameters, texture and harmony, by arranging them through morphological dilation. The third is to apply morphological operators to analyze piano rolls using graph theory. The thesis thus proposes new approaches for problems in sound analysis and computational musicology
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Miller, John Gabriel. "The Death and Resurrection of Function." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1217299779.
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Taddei, Rita de Cassia. "Alberto Nepomuceno, Artémis: um estudo de análise neorriemanniana." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-26052015-120059/.
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Este trabalho analisa a estruturação harmônica do episódio lírico Artémis, de Alberto Nepomuceno, buscando demonstrar que a técnica usada pelo compositor emprega sistematicamente os princípios da linguagem do cromatismo pós-wagneriano. Observa-se, inicialmente, que o projeto dessa obra encontra-se na vanguarda das estéticas de seu tempo, alinhando-se com as correntes progressistas do período. Nesse sentido verifica-se que, apesar de Nepomuceno ter sido identificado pela historiografia modernista como precursor do nacionalismo musical brasileiro, nesta obra prevalece sua inclinação cosmopolita. Para o desenvolvimento da pesquisa examinou-se inicialmente qual ferramenta de análise harmônica, dedicada ao repertório do cromatismo romântico do final do século XIX, seria mais adequada ao Artémis. Apresenta-se, por isso, uma introdução às teorias analíticas aplicáveis ao repertório com tonalidade expandida do século XIX, focando nos trabalhos de Hugo Riemann, Arnold Schoenberg e David Kopp. As teorias harmônicas de Riemann, sendo a matriz primordial dessas teorias, são extensamente investigadas. Comparamos, a seguir, as propostas dos três teóricos no que se refere a ferramentas de análise para peças com estrutura cromática. Discorrendo sobre aspectos positivos e negativos de cada teoria investigada, apontamos a recente teoria neorriemanniana de Kopp como a que melhor sistematizou, para nossos propósitos, os avanços acadêmicos no entendimento dos problemas harmônicos do repertório cromático do século XIX. Defendendo a importância de se atrelar, adequadamente, teoria, análise e repertório, confrontamos teoria e prática analítica, aplicando ao Artémis a sistemática das transformações cromáticas de Kopp. Conseguimos assim demonstrar, na prática do processo analítico, através de uma ferramenta de análise perfeitamente ajustada ao repertório proposto, resultados que atestam a coerência estrutural do texto musical abordado aos princípios transformacionais da harmonia cromática pós-wagneriana.<br>This dissertation analyses the harmonic structure of the \"lyric episode\" Artémis, composed by Alberto Nepomuceno, aiming to demonstrate that the technique used by the composer employs, systematically, the principles of the post-Wagnerian chromatic language. We observe, initially, that the project of this piece fits the avant-garde aesthetics of its time, aligning itself to the progressive trends of the period. In this sense we verify - although Nepomuceno has been identified by the modernistic Brazilian historiography as a forerunner of the Brazilian musical nationalism - that his cosmopolitan inclinations prevailed in this composition. At first, for the adequate development of the research, we examined which tool of harmonic analysis, dedicated to the chromatic repertoire of the final of the XIX Century, would be more adequate to the music of Artémis. We present, therefore, an introduction to the analytical theories that might be useful to the repertoire of expanded tonality of the XIX Century, focusing in the texts of Hugo Riemann, Arnold Schoenberg and David Kopp. The harmonic theories of Riemann, as the matrix for all these theories, are extensively investigated. We compare, in the sequence, the proposals of three theoreticians that developed analytical tools for pieces with chromatic structures. Revealing the positive and negative aspects of each of these theories, we pointed out the recent neoriemannian theory by Kopp as the one that better systematizes, for our purposes, the academic advances in the understanding of the harmonic problems of the chromatic repertoire composed at the end of the XIX Century. Because we defend the importance of considering simultaneously theory, analysis and repertoire, we confront theory and practice, applying to Artémis, Kopp\'s chromatic transformations systematic theory. This way we were able to demonstrate, in the practice of the analytical process, through an analytic tool perfectly fit to proposed repertoire, results that attest the structural coherence of the studied musical text with the transformational principles of post-Wagnerian chromatic harmony.
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Tussing, Timothy Mark. "Analysis of Effects on Sound Using the Discrete Fourier Transform." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338371732.
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Appleby, Joshua. "Making the most of life’s uncertainty: An analysis of the philosophies and musical language of David Ades." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2446.
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This project explores the compositional and improvisational techniques idiosyncratic to David Ades, specifically within his last two recordings as leader: A Glorious Uncertainty and A Life in a Day. Interviews were conducted with collaborators and those musically associated with Ades to provide a deep understanding of the philosophical values governing his musical approach. In association with this, selected recordings from the aforementioned albums were transcribed for analysis. Areas of analytical focus were arrangement, form and structure, pitch arrangement, rhythmic devices, articulation, effects, dynamics, and interaction. Due to the freedom Ades sought within his music, the work of musicologists such as Ekkehard Jost in his book Free Jazz, Dave Liebman’s and Lewis Porter’s analyses of Coltrane’s music, and Stroessner’s adaptation of Jan LaRue’s work have been employed for analysis. Having established a comprehensive overview of Ades’s musical idiosyncrasies and the philosophy behind them, this document acts not only as an insight into the musician, but a potential source for application to artistic practice, encouraging the development of a personal musical lexicon.
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Sims, Scott G. "Dissonance Treatment in Fuging Tunes by Daniel Read from The American Singing Book and The Columbian Harmonist." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501161/.
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This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.
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Webb, Timothy. "Part I The Samson Suite for Chamber Orchestra. Part II The Provocative Prokofiev: Analysis of Moderato Movement Sonata for Flute and Piano in D Major, Opus 94." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1280337287.
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Stark, Eryn E. "Hair for Rent:How the Idioms of Rock 'n' Roll are Spoken Through the Melodic Language of Two Rock Musicals." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1436298624.
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Ballard, Jack Du Wayne Jr. "Part One: The Castle. Part Two: Hyperextended Chord Tones: Chromatic Consonance in a Tertian Context." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1228157561.
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Penny, Lori Lynn. "The Kodály Method and Tonal Harmony: An Issue of Post-secondary Pedagogical Compatibility." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23132.
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This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.
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Hoegberg, Elisabeth Honn. "From theory to practice : composition and analysis in Marin Mersenne's Harmonie universelle /." Electronic version Electronic version, 2005. http://proquest.umi.com/pqdweb?did=885688441&sid=2&Fmt=2&clientId=12010&RQT=309&VName=PQD.
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Thesis (Ph. D.)--Indiana University, 2005.<br>Computer printout. Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0404. Chair: Frank Samarotto. Includes bibliographical references (leaves 407-419), abstract, and vita.
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Mearns, Lesley. "The computational analysis of harmony in western art music." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8676.
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This thesis describes research in the computational analysis of harmony in western art music, focussing particularly on improving the accuracy and information-richness of key and chord extraction from digital score data. It is argued that a greater sophistication in automatic harmony analysis is an important contribution to the field of computational musicology. Initial experiments use hidden Markov models to predict key and modulation from automatically labelled chord sequences. Model parameters are based on heuristically formulated chord and key weightings derived from Sch¨onberg’s harmonic theory and the key and chord ratings resulting from perceptual experiments with listeners. The music theory models are shown to outperform the perceptual models both in terms of key accuracy and modelling the precise moment of key change. All of the models perform well enough to generate descriptive data about modulatory frequency, modulatory type and key distance. A robust method of classifying underlying chord types from elaborated keyboard music is then detailed. The method successfully distinguishes between essential and inessential notes, for example, passing notes and neighbour notes, and combines note classification information with tertian chord potential to measure the harmonic importance of a note. Existing approaches to automatic chord classification are unsuitable for use with complex textures and are restricted to triads and simple sevenths. An important goal is therefore to recognise a much broader set of chords, including complex chord types such as 9ths, 11ths and 13ths. This level of detail is necessary if the methods are to supply sophisticated information about the harmonic techniques of composers. Testing on the first twenty-four preludes of J. S. Bach’s Well Tempered Clavier, hand annotated by the author, a state of the art approach achieves 22.1% accuracy; our method achieves 55% accuracy.
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Taylor, Anthony Gordon. "John Adams’s Gnarly Buttons: Issues of History, Performance and Style." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1185548983.
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Freitas, Sérgio Paulo Ribeiro de. "Que acorde ponho aqui?" [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284967.
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Orientador: Claudiney Rodrigues Carrasco<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T11:23:14Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: Harmonia, práticas teóricas e o estudo de planos tonais em música popular Situando a pergunta central - que acorde ponho aqui? - no âmbito das práticas teóricas da harmonia tonal, o presente estudo examina criticamente algumas respostas possíveis procurando perscrutar diferentes motivações, procedências, contextos, concepções, saberes, argumentos e justificativas que, entremeadas, discordantes e concordantes, animam os discursos e as ações de escolha que dão respostas para perguntas como esta. O tom coloquial da questão abrevia um entrelaçado de tópicos que, com diferentes formulações, ramificações, ênfases e abordagens, são mais ou menos recorrentes nos programas pedagógicos, técnicos, teóricos, analíticos, valorativos e artísticos da nossa disciplina. Deste entrelaçado ganha enfoque mais delimitado aqui uma problemática que pode ser enunciada assim: quais são, onde se encontram, no que se fundamentam as escolhas e como se combinam em sucessão os tons vizinhos (áreas tonais, regiões, tonalidades) e acordes principais que, propositadamente dispostos em média e larga escala, referenciando a concordância dos acordes coadjuvantes (meios de preparação) e demais alturas (notas adjacentes, tensões, escalas, modos, etc.), contribuem na efetivação das "funções estruturais" (relações entre a função harmônica e a incumbência formal dos segmentos) numa obra musical harmônica e tonal? A proposição que acompanha esta delimitação é a de que, a arte e ofício de escolher e combinar acordes em planos tonais, em diversas e controversas medidas e das mais variadas maneiras, não se aparta das práticas teóricas que intentam balizar tal conhecimento e competência. E essas relações dinâmicas de vinculação e desvinculação entre os feitos e fazeres da harmonia e os feitos e fazeres da sua teoria são observadas aqui como uma espécie de principal questão transversal. Os Capítulos 1 a 6 cuidam da revisão, da contextualização, do levantamento e cruzamento circunstanciado de referências, do repertório e da memória teórica e poética, do questionamento e discussão a respeito de determinadas abordagens interpretativas sobre assuntos como: os fundamentos diatônicos da tonalidade, a atribuição funcional dos acordes e áreas tonais, a inclusão teórico-normativa de acordes não diatônicos, os meios de preparação alterados e as vizinhanças de terceira que envolvem transformações cromáticas. Os Capítulos 7 e 8 propõem e avaliam um modelo pré-analítico para o estudo comparado de planos tonais complexos. Trata-se de um ferramental para-musical voltado para a experimentação, produção, análise e crítica que visa favorecer a macro-confrontação dos lugares de chegada dispostos em obras tonais que, no cenário da música popular "tortuosa", alcançam seus efeitos contando com a mistura de determinados diatonismos<br>Abstract: Harmony, theoretical practices and the study of tonal planes in popular music Examining the core question - which chord should I use here? - within the context of theoretical practices of tonal harmony, this study critically examines some potential answers attempting to explore different motivations, origins, contexts, conceptions, knowledge, arguments and justifications that, when intermixed, both discordant and accordant, stimulate argumentation and choice?making to answer these types of questions. The colloquial tone of the issue at hand reveals a web of intertwining topics with different formulations, branches, emphases, and approaches that are somewhat recurrent in the pedagogical, technical, theoretical, analytical, evaluative, and artistic areas of the discipline. From this web structure, the problem takes on a more bounded focus which might be described as follows: what are the possible choices, where are they, and on what criteria are they based, and how are related tonalities (tonal areas, regions) and main chords arranged in succession, which, purposely arranged in mean and large scale and referencing the accordance of the adjunct chords (means of preparation) and other pitches (adjacent notes, tensions, scales, modes, etc.), contribute to the execution of "structural functions" (relationships between harmonic function and the formal role of the segments) in a harmonic and tonal piece of music? The proposition accompanying this delineation is such that the art and the task of choosing and arranging chords in tonal planes in several conflicting measures and in the most varied forms does not depart from theoretical practices that attempt to define such knowledge and competence. These dynamic relationships of binding and unbinding between acts and actions of harmony and acts and actions according to the theory are considered a central issue. Chapters 1 through 6 deal with review, contextualization, identification, and detailed comparison of references; repertoire and theoretical and poetic memory; questioning and discussion regarding certain interpretative approaches on such subjects as: the diatonic basis of tonality, the functional attribution of chords and tonal areas, the inclusion of theoretical?normative non?diatonic chords, the altered means of preparation and third relations that involve chromatic transformations. Chapters 7 and 8 propose and evaluate a pre-analytical model for the comparative study of complex tonal planes. This deals with a para-musical tool aimed at experimentation, production, analysis, and review, which attempts to support the macro confrontation of final locations arranged in tonal works that, within the context of "tortuous" popular music, achieve their results by mixing certain diatonicisms<br>Doutorado<br>Fundamentos Teoricos<br>Doutor em Música
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Lovell, Jeffrey. "An Exploration of Melody, Harmony, and Improvisation in the Music of Stevie Wonder." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12947.
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In this dissertation, I examine Stevie Wonder's compositional style from his celebrated "classic period," (1972-1976) focusing specifically on the concentrated two-year time span from 1972-1974 marked by his unparalleled creative output that launched him into superstardom. My study operates on the premise that most melodic relationships are governed by a fundamentally pentatonic process and that harmonic relationships are largely governed by jazz-influenced tonal processes. I have transcribed dozens of examples from the time period under review in order to survey the expressive interaction between these two related but distinct systems and the resulting effect their usage has on melody and harmony. Using Schenkerian reductive analysis as my primary tool, I uncover recurring patterns that shape and shed light on his style. The final chapter of this study focuses on the ways in which Wonder's improvised melodic lines relate to the voice-leading framework of the basic melodic ideas in his performance of "I Love Every Little Thing About You" and also the ways in which his improvisation impacts forward motion in the course of this song.
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Lisius, Peter H. "Core Sources on Harmony as Represented in Ohio Institutions: A Survey of Representative Sources Found in OhioLINK Libraries Associated with NASM-Accredited Music Programs." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1301330356.
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Kang, Jin Myung. "An analysis of Stravinsky's Symphony of psalms focusing on tonality and harmony." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196113148.
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Mui, Kwong-chiu. "Exploration in new music portfolio of compositions and analysis /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B43894574.
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Mui, Kwong-chiu Tan Dun Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu Mui Kwong-chiu. "Exploration in new music : portfolio of compositions and analysis /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22132016.
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Thesis (M. Phil.)--University of Hong Kong, 2001.<br>Two sets of recordings included, each in its own container. The first work is for string quartet; the second for bangdi, soprano sheng, yangqin, pipa, guzheng, erhu, gehu and percussion; the third for harmonica quintet, sheng, harp, piano and percussion. "Symphonic poem-Genesis" is for orchestra with piano and celesta. "Ghost opera" is for string quartet and pipa, with water, stones, paper and metal. Includes bibliographical references.
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梅廣釗 and Kwong-chiu Mui. "Exploration in new music: portfolio of compositions and analysis." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B43894574.
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Shin, Minna Re 1969. "New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.
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The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositional "chain reaction" occurs.<br>Chapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types.<br>Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.
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Henson, Blake Ross. "Structural Analysis Through Ordered Harmony Transformations in the Early Works of Arnold Schoenberg." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274721477.
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Dunn, Tony. "Harmony and Voice Leading in Jazz Improvisation: Formulating an Analytical Framework For a Comparative Analysis of a Bill Evans and Herbie Hancock Performance of Hancock's "Dolphin Dance"." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28607.
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Through the development of an analytical framework that addresses voice leading in both tonal and modal settings, improvised performances based on a repeating jazz lead sheet progression can be analyzed, categorized, and compared according to their implied harmonic content and adherence to the harmonic possibilities inherent in the lead sheet.
The proposed framework, grounded in jazz theory, is used to analyze two performances of Herbie Hancock's Dolphin Dance, one each by Bill Evans and the composer. Five passages, representing both tonal and modal settings, are examined according to the voice leading criteria proposed in the framework.
This thesis addresses 1) the various jazz scores necessary for analysis -- including a third abstract score that encapsulates the infinite possible ways to realize a lead sheet; 2) the evolution of modal jazz; and 3) the reduction of transcribed improvisations to progressions of implied harmonic sonorities connected through voice leading.
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Doerfler, Amy M. "Part I: Mass for Full Orchestra and SATB Chorus Part II: Joseph Funk's A Compilation of Genuine Church Music (1832): An Analysis of Music and Methods." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1310584998.
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Kiely, Yagan M. "An exploration of octatonicism: From Liszt to Takemitsu." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2534.
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The octatonic pitch set can be found in the works of many composers since the early nineteenth century, often with different characteristics of the pitch set being exploited by the composers. Much of the literature on octatonicism relates to specific instances in compositions or a specific composer’s approach to it rather than exploring octatonicism from a more holistic perspective. This dissertation serves as a holistic resource for the characteristics of the octatonic pitch set; whether as a scale, especially with regards to common practice harmony; or an unordered set. It does this by considering the contextual historical implications of the octatonic pitch set; the historic lineage of octatonic usage; and, significantly, with the goal of extracting specific compositional devices from the works of various composers that come from a variety of stylistic, historical, and harmonic perspectives. These compositional devices are learnable methods, or conventions that a composer can modify, build upon or implement into their own work. The contextual historical information, along with the description of the characteristics of the octatonic pitch set and, especially, the compositional devices are all intended to be both a single pedagogical resource and starting point for composers in relation to developing new octatonic compositional techniques and a holistic theoretical overview of octatonicism. The evidence, retrieved from third party analysis of select composers’ octatonic works, finds learnable compositional devices from broad stylistic backgrounds that can be reinterpreted and expanded into individualised compositional methods.
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Thompson, Jonathan (Oboist). "Crystal Clear: A Performance Guide and Electronic Accompaniment of Mario Lavista's Marsias for Oboe and Crystal Glasses." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538800/.
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Mario Lavista (b. 1943) is a dominant figure in Mexican classical music. In the second half of the twentieth century, he promoted the use of contemporary techniques, leading to a series of collaborations with expert instrumentalists to explore extended techniques. Marsias for Oboe and Crystal Glasses is one of those pieces. Due to the nature of contemporary techniques, different oboes and reed styles produce different effects with the same fingerings. This document analyzes the contemporary fingerings in the two published editions of the work in consideration of the long-scrape reed style and oboes commonly used in the United States. The contemporary techniques were played on twelve professional oboe models as a way to collect data on how the printed fingerings work. The data is the foundation for the performance guide, which details every contemporary technique in the work. The performance guide also provides comprehensive information about the crystal glass logistics. The document also presents an electronic accompaniment created with Max/MSP in the event that the crystal glasses or crystal glass players are unavailable.
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Mancero, Baquerizo Daniel. "Composition musicale et modélisation de l'espace hétérophonique des Soundscape Compositions." Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080041.
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Ce mémoire de thèse traite de l’analyse musicale et de la formalisation desévénements sonores qui structurent le paysage sonore. À cette fin, ce travail s’articule endeux axes complémentaires : d’une part, il constitue une évaluation des enjeux théoriqueset esthétiques au sein de l’écologie acoustico-sonore, d’un point de vue poïétique — centrésur la conception d’oeuvres musicales fondées sur le paysage sonore ou soundscapecompositions ; cela suppose de prendre en compte non seulement les préceptes théoriquesqui font de l’écologie sonore une discipline artistique à part entière, mais égalementl’ensemble de critères acoustico-sonores susceptibles de définir les limites de cette formede création sonore. D’autre part, ce travail propose une méthodologie dialogique derecherche/création permettant de recenser, de décrire et de modéliser la fonctionnalitémusicale ayant lieu au sein du répertoire des compositions fondées sur le paysage sonore,tout en favorisant le déploiement d’autres techniques de composition musicale de caractèreplutôt syntaxique. Bien que le paysage sonore soit largement reconnu comme faisant appel au mimétisme del’environnement sonore — excluant ainsi toute construction autonome d’un systèmesyntaxique d’écriture musicale stricto-sensu, force est de constater que, au fur et à mesurede l’évolution de formes de création fondées sur le paysage sonore, les artistes sonores ontgraduellement mis au point une procédure de manipulation électroacoustique quirenouvelle la notion-même de paysage sonore, passant du field-recording — où le paysagen’est que le résultat immédiat de l’enregistrement —, à des processus de compositionmusicale assez complexes, où le paysage sonore s’avère être un contexte d’organisationmusicale de matériaux sonores très spécifiques. Dans ce contexte, ce travail ouvre à unprogramme de recherches autour de nouvelles perspectives de création musicale et derecherche musicologique, axées notamment sur le développement d’outils informatiquesd’analyse acoustico-sonore et sur la mise en place de méthodologies de recherche/créationvisant à comprendre les déterminants de la composition musicale fondée sur le paysagesonore<br>This work of thesis deals with the musical analysis and modelling of the particular sound events that structure and shape soundscapes. To this end, this work is organized around two complementary approaches: first, it seeks to assess the aesthetic and conceptual implications of acoustic ecology from a poietic perspective. This implies taking into account not only the theoretical principles underlying acoustic ecology, but also a set of criteria characterizing ways of listening from a phenomenological point of view. Secondly, this work introduces a specific dialogical methodology for identifying, describing and modelling the musical functionality of soundscape compositions, while fostering the deployment of other (rather syntactic) compositional techniques. Despite its wide acceptance as a mimetic approach to reconstitute soundscapes through field-recordings, one cannot fail to observe that, over the evolution of the repertoire of soundscape compositions, composers and acoustic designers have developed various compositional strategies that enable them to undertake larger and more sophisticated musical outlets. In this context, this work opens up new perspectives on music composition and musicological research: it is centered around the development of acoustical/musical analysis computer tools, as well as of methodologies supporting a dialogical process towards research and creation for better knowing about musical soundscape composition.On that basis, this work intends to contribute with a set of methodological and computational tools that will enable musicologists and composers to classify and represent the heterophonic field that characterizes the soundscape
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McKinney, Timothy R. (Timothy Richmond). "Harmony in the Songs of Hugo Wolf." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331583/.
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The songs of Hugo Wolf represent the culmination of the Romantic German Lied tradition. Wolf developed a personal chromatic harmonic style that allowed him to respond to every nuance of a poetic text, thereby stretching tonality to its limits. He was convinced, however, that despite its novel nature his music could be explained through the traditional theory of harmony. This study determines the degree to which Wolf's belief is true, and begins with an evaluation of the current state of research into Wolf's harmonic practice. An explanation of my analytical method and its underlying philosophy follows; historical perspective is provided by tracing the development of three major elements of traditional theory from their inception to the present day: fundamental bass, fundamental chords, and tonal function. The analytical method is then applied to the works of Wolf's predecessors in order to allow comparison with Wolf. In the investigation of Wolf's harmonic practice the individual elements of traditional functional tonality are examined, focusing on Wolf's use of traditional harmonic functions in both traditional and innovative ways. This is followed by an investigation of the manner in which Wolf assembles these traditional elements into larger harmonic units. Tonal instability, rapid key shifts, progressive tonality, tonal ambiguity, and transient keys are hallmarks of his style. He frequently alters the quality of chords while retaining the function of their scale-degree root. Such "color" chords are classified, and their effect on harmonic progression examined. Wolf's repetitive motivic style and the devices that he employs to provide motion in his music are also discussed. I conclude by examining Wolf's most adventuresome techniques—including parallel chords successions, chromatic harmonic and melodic sequences, and successions of augmented triads--and the suspension of tonality that they produce. This project encompasses all of Wolf's songs, and should be a useful tool for Wolf scholars and performers, students of late nineteenth-century music, the music theorist, and for anyone interested in the concept of harmony as a stylistic determinant.