Dissertations / Theses: 'Music theory Music theory Harmony'

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Brister, Michael. "Negative Harmony: Experiments with the Polarity in Music." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/507.

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I set out to experiment and justify the use of a new theory called Negative Harmony in 21st century music. Negative Harmony is a musical avenue from which composers can glean new tones within traditional music theory rules. I took inspiration from the current leading authority on the topic, Jacob Collier, as well as older scholars from the 20th century, such as Ernst Levy and George Rochberg. I conducted research on the theory by finding its relation to major and minor chords, and how these mirrored chords worked from a theory standpoint. I then composed two original works, one piano piece and one piece for SATB choir and piano. I aimed to find the best balance between the unfamiliar negative chords and the familiar positive chords. I then looked to justify the use of this theory through the writings of scholars and modern music listeners and casual music makers.

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Rehding, Alexander. "Nature and nationhood in Hugo Riemann's dualistic theory of harmony." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343248.

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Carter, Paul Scott. "Retrogressive Harmonic Motion as Structural and Stylistic Characteristic of Pop-Rock Music." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116202928.

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Yau, Shek Fung. "Theory and practice : controversies in Rameau's theory of harmony and thoroughbass practice." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/152.

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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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Strohman, Gregory. "Psychoacoustic Entropy Theory and Its Implications for Performance Practice." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/281332.

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Music Performance
D.M.A.
This dissertation attempts to motivate, derive and imply potential uses for a generalized perceptual theory of musical harmony called psychoacoustic entropy theory. This theory treats the human auditory system as a physical system which takes acoustic measurements. As a result, the human auditory system is subject to all the appropriate uncertainties and limitations of other physical measurement systems. This is the theoretic basis for defining psychoacoustic entropy. Psychoacoustic entropy is a numerical quantity which indexes the degree to which the human auditory system perceives instantaneous disorder within a sound pressure wave. Chapter one explains the importance of harmonic analysis as a tool for performance practice. It also outlines the critical limitations for many of the most influential historical approaches to modeling harmonic stability, particularly when compared to available scientific research in psychoacoustics. Rather than analyze a musical excerpt, psychoacoustic entropy is calculated directly from sound pressure waves themselves. This frames psychoacoustic entropy theory in the most general possible terms as a theory of musical harmony, enabling it to be invoked for any perceivable sound. Chapter two provides and examines many widely accepted mathematical models of the acoustics and psychoacoustics of these sound pressure waves. Chapter three introduces entropy as a precise way of measuring perceived uncertainty in sound pressure waves. Entropy is used, in combination with the acoustic and psychoacoustic models introduced in chapter two, to motivate the mathematical formulation of psychoacoustic entropy theory. Chapter four shows how to use psychoacoustic entropy theory to analyze the certain types of musical harmonies, while chapter five applies the analytical tools developed in chapter four to two short musical excerpts to influence their interpretation. Almost every form of harmonic analysis invokes some degree of mathematical reasoning. However, the limited scope of most harmonic systems used for Western common practice music greatly simplifies the necessary level of mathematical detail. Psychoacoustic entropy theory requires a greater deal of mathematical complexity due to its sheer scope as a generalized theory of musical harmony. Fortunately, under specific assumptions the theory can take on vastly simpler forms. Psychoacoustic entropy theory appears to be highly compatible with the latest scientific research in psychoacoustics. However, the theory itself should be regarded as a hypothesis and this dissertation an experiment in progress. The evaluation of psychoacoustic entropy theory as a scientific theory of human sonic perception must wait for more rigorous future research.
Temple University--Theses

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Debbeler, Judith. "Harmonie und Perspektive : die Entstehung des neuzeitlichen abendländischen Kunstmusiksystems /." München : Epodium-Verlag, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3005348&prov=M&dok_var=1&dok_ext=htm.

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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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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.
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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Derfler, Brandon Joel. "Single-voice transformations : a model for parsimonious voice leading /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11418.

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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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Wiklund, Dennis. "Hur uppfattar gymnasielever funktionsanalys? : En fenomenografisk studie." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3861.

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Föreliggande självständiga arbete har sitt ursprung i en nyfikenhet på den praktiska potentialen i musikteoriundervisning på gymnasienivå. Enligt forskning blir musikteoriundervisning ofta teoretisk utan tydliga kopplingar till autentiskt musikutövande. Syftet med denna uppsats har varit att få djupare insikt i hur gymnasielever uppfattar det musikteoretiska begreppet funktionsanalys och vad det kan användas till. Material har samlats in genom sex intervjuer med gymnasielever och en före detta gymnasieelev som läser eller nyligen har läst Gehörs- och musiklärakurser. Materialet har därefter analyserats ur ett fenomenografiskt perspektiv. Resultatet visar att funktionsanalys och dess praktiska användning kan uppfattas på några olika sätt. Exempelvis är en uppfattning av funktionsanalys att det är en akademisk musikbeskrivning som inte är särskilt praktiskt tillämpbar. En uppfattning av vad funktionsanalys kan användas till är att motivera vilken karaktär något ska spelas med. I diskussionskapitlet diskuteras resultatet utifrån litteratur och mina egna tankar, inte minst ur ett pedagogiskt perspektiv hur undervisning skulle kunna anpassas för att elever ska erhålla så bred och djup förståelse för funktionsanalys som möjligt.
The present degree project has its origins in a curiosity about the practical potential of music theory teaching at the upper secondary school level. According to research, music theory teaching often becomes theoretical without clear connections to authentic music practice. The purpose of this essay has been to gain a deeper insight into how upper secondary school students perceive the music theoretical concept of functional harmony and what it can be used for. Materials have been collected through six interviews with upper secondary school students and one former upper secondary school student who are taking or recently have taken Pitch and music theory courses at upper secondary school in Sweden. The material has been analyzed from a phenomenographic perspective. The results show that functional analysis and its practical use can be perceived in some different ways. For example, one perception of functional analysis is that it is an academic music description that is not very practically applicable. One perception of what functional analysis can be used for is to motivate with which character something should be played. In the last chapter the result is discussed based on literature and my own thoughts, not least from a pedagogical perspective how teaching could be adapted so that students receive as broad and deep understanding of functional analysis as possible.

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Bills, Danny C. "Harmony and Structure in Richard Strauss's Macbeth." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278998/.

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This study begins with a discussion of step theory. Included in this discussion is the basis of chord succession, the idea of fundamental representation, and the uses of reinterpretation technique. These concepts are then used to demonstrate the continuity and logic of the harmonic language found in Strauss's Macbeth.

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14

Lakner, Katie. "Formal and Harmonic Considerations in Clara Schumann's Drei Romanzen, op. 21, no. 1." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431660576.

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15

Strohman, Gregory. "Recordings.zip." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/281333.

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Music Performance
D.M.A.
This dissertation attempts to motivate, derive and imply potential uses for a generalized perceptual theory of musical harmony called psychoacoustic entropy theory. This theory treats the human auditory system as a physical system which takes acoustic measurements. As a result, the human auditory system is subject to all the appropriate uncertainties and limitations of other physical measurement systems. This is the theoretic basis for defining psychoacoustic entropy. Psychoacoustic entropy is a numerical quantity which indexes the degree to which the human auditory system perceives instantaneous disorder within a sound pressure wave. Chapter one explains the importance of harmonic analysis as a tool for performance practice. It also outlines the critical limitations for many of the most influential historical approaches to modeling harmonic stability, particularly when compared to available scientific research in psychoacoustics. Rather than analyze a musical excerpt, psychoacoustic entropy is calculated directly from sound pressure waves themselves. This frames psychoacoustic entropy theory in the most general possible terms as a theory of musical harmony, enabling it to be invoked for any perceivable sound. Chapter two provides and examines many widely accepted mathematical models of the acoustics and psychoacoustics of these sound pressure waves. Chapter three introduces entropy as a precise way of measuring perceived uncertainty in sound pressure waves. Entropy is used, in combination with the acoustic and psychoacoustic models introduced in chapter two, to motivate the mathematical formulation of psychoacoustic entropy theory. Chapter four shows how to use psychoacoustic entropy theory to analyze the certain types of musical harmonies, while chapter five applies the analytical tools developed in chapter four to two short musical excerpts to influence their interpretation. Almost every form of harmonic analysis invokes some degree of mathematical reasoning. However, the limited scope of most harmonic systems used for Western common practice music greatly simplifies the necessary level of mathematical detail. Psychoacoustic entropy theory requires a greater deal of mathematical complexity due to its sheer scope as a generalized theory of musical harmony. Fortunately, under specific assumptions the theory can take on vastly simpler forms. Psychoacoustic entropy theory appears to be highly compatible with the latest scientific research in psychoacoustics. However, the theory itself should be regarded as a hypothesis and this dissertation an experiment in progress. The evaluation of psychoacoustic entropy theory as a scientific theory of human sonic perception must wait for more rigorous future research.
Temple University--Theses

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Hollow, Malila Louise. "Scriabin's Gradual Journey to Post-tonal Writing| Pushing Boundaries through Harmonic Exploration and Synesthesia." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10638764.

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Throughout his career, Alexander Scriabin created a bridge between traditional romantic harmony and modernistic, chromatic tendencies that ultimately led to the post-tonal era. Scriabin’s middle period after Opus 32 displays several examples of his progressive harmony. However, Scriabin’s transition into harmonic exploration is quite apparent in his Fantasy in B minor , which was written three years before his middle period is observed. This may demonstrate that Scriabin was developing his harmonic techniques much earlier in his career.

Furthermore, the thorough documentation of Scriabin’s color associations shows that Scriabin conceived his music with a strong integration of sound-color awareness. Many moments in the Fantasy appear to possess relationships between sound and color, which can be found in expanded harmonic techniques and multi-timbral textures within the pianistic writing. This essay will first discuss the existing research completed on Scriabin’s harmonic tendencies within earlier works, and then analyze the similar techniques used in the Fantasy. Using previous knowledge gathered about synesthesia, this essay will then examine the connections between Scriabin’s perspective on composition and his connection to synesthesia.

In summary, Scriabin’s unconventional voice leading, chromatic harmonic progressions, and altered tertian voicing, will be analyzed in Opus 28. Afterwards, synesthetic and multi-textural analysis will be demonstrated for the purposes of observing Scriabin’s exploration of the pianistic soundscape and synesthetic-inspired compositional techniques.

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Welch, Nathanael C. ""All That Noise, and All That Sound:" Tonal Ambiguity and Melodic-Harmonic Disconnect in the Music of Coldplay." Youngstown State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1442761317.

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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
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-17T11:23:14Z (GMT). No. of bitstreams: 1 Freitas_SergioPauloRibeirode_D.pdf: 99460171 bytes, checksum: e7e72fd118735dce6334d35e1483a8de (MD5) Previous issue date: 2010
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
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
Doutorado
Fundamentos Teoricos
Doutor em Música

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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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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.
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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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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Vaughn, Erin M. "Harmonic Resources in 1980s Hard Rock and Heavy Metal Music." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1449012267.

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Almer, Anton. "Hur känns harmoni? : En musikpsykologisk undersökning om betydelsen av ackord för framkallade känslor." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-52404.

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Denna undersökning handlar om hur en reharmonisering påverkar unga vuxna musikers känslomässiga uppfattning av låten ”Tryggare kan ingen vara”. För att få reda på vilka känslor deltagarna kände fick de fylla i ett formulär som var baserat på Geneva Emotional Music Scale (förkortat som GEMS). Utöver detta formulär fick de även svara på två korta frågor samt fylla i ett formulär om sin musikaliska bakgrund. Studien visar att unga vuxna musiker känslomässigt reagerar annorlunda på olika harmoniseringar av ”Tryggare kan ingen vara”. De mest intressanta skillnaderna presenteras och analyseras med hjälp av uträknade median- och medelvärden utifrån formuläret som är baserat på GEMS. Dessa siffror jämförs sedan med de andra frågorna som deltagarna fick svara på och det förs resonemang kring varför de möjligen svarade som de svarade.

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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.

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Wright, James K. "Schoenberg, Wittgenstein, and the Vienna circle : epistemological meta-themes in harmonic theory, aesthetics, and logical positivism." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38438.

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This study examines the relativistic aspects of Arnold Schoenberg's harmonic and aesthetic theories in the light of a framework of ideas presented in the early writings of Ludwig Wittgenstein, the logician, philosopher of language, and Schoenberg's contemporary and Austrian compatriot. The author has identified correspondences between the writings of Schoenberg, the early Wittgenstein (the Tractatus Logico-Philosophicus, in particular), and the Vienna Circle of philosophers, on a wide range of topics and themes. Issues discussed include the nature and limits of language, musical universals, theoretical conventionalism, word-to-world correspondence in language, the need for a fact- and comparison-based approach to art criticism, and the nature of music-theoretical formalism and mathematical modeling. Schoenberg and Wittgenstein are shown to have shared a vision that is remarkable for its uniformity and balance, one that points toward the reconciliation of the positivist-relativist dualism that has dominated recent discourse in music theory. Contrary to earlier accounts of Schoenberg's harmonic and aesthetic relativism, this study identifies a solid epistemological core underlying his thought, a view that was very much in step with Wittgenstein and the Vienna Circle, and thereby with the most vigorous and forward-looking stream in early twentieth century intellectual history.

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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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Jeong, Soo Hyun. "Harmonic and Thematic Interactions in Richard Strauss's Vier letzte Lieder: A Synthesis of Two Analytical Approaches." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1573573186212936.

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Rodrigues, Higo Henrique. "EDWARD ELGAR’S EXTENDED TONAL PROCEDURES—AN INQUIRY INTO ELGAR’S CHROMATIC REALM." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/35.

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This study aims to examine the ways in which English composer Edward Elgar (1857–1934) expanded common-practice tonality; it shows how Elgar employed harmonic structures and syntax in an innovative manner through specific extended-tonal techniques such as the use of chromatic-third relations (both harmonically and as a tonal plan), harmonic substitutions, and local ambiguous sonorities that at times lead to tonal ambiguity. The system that Elgar expanded upon has been called “Classical diatonic tonality”, which was extended when late nineteenth-century composers such as Elgar infused their music with chromaticism. Through an investigation of Elgar’s extended tonal techniques one can come to a better appreciation of his late nineteenth-century harmonic vocabulary. It has been well documented that Elgar modeled his music after that of Wagner and his Germanic contemporaries (from Mendelssohn to Brahms), so that the Elgarian tonal language is one possible projection of a post-Wagnerian extended-tonal discourse. The discussion presented here will survey those parts of Elgar’s tonal language that he learned from his Germanic contemporaries, thereby establishing the context for his own unique chromatic compositional style. This study of Elgar’s work therefore further represents a study of the broader impact of post-Wagnerian chromaticism on late nineteenth-century English extended tonality.

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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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30

Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.

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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than those in other fields. After reviewing some of the salient distinctions between scientific and nonscientific endeavors, some of Kuhn's insights into science are found to clarify an issue in the history of music theory, namely the nature of the succession from figured-bass theory to the formulations of J. P. Rameau.

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Diener, Glendon. "Formal languages in music theory." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59610.

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In this paper, the mathematical theory of languages is used to investigate and develop computer systems for music analysis, composition, and performance. Four prominent research projects in the field are critically reviewed. An original grammar-type for the computer representation of music is introduced, and a computer system for music composition and performance based on that grammar is described. A user's manual for the system is provided as an appendix.

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Wiederkehr, George A. "The role of music theory in music production and engineering." Thesis, University of Oregon, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1602500.

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Due to technological advancements, the role of the musician has changed dramatically in the 20^th and 21^st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. The relationship between musical analysis and production is explored to discover how music analysis can provide a more effective and informed musical production or recording and how a consideration of music production elements, notably timbre and instrumentation, can help to better inform a musical analysis. Two supplemental MP3 files are included with this thesis to demonstrate proposed mixing guidelines derived from the analysis.

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Wickens, H. E. "Music and music theory in the writings of Notker Labeo." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376009.

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34

Wiederkehr, George. "The Role of Music Theory in Music Production and Engineering." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19679.

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Due to technological advancements, the role of the musician has changed dramatically in the 20th and 21st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. The relationship between musical analysis and production is explored to discover how music analysis can provide a more effective and informed musical production or recording and how a consideration of music production elements, notably timbre and instrumentation, can help to better inform a musical analysis. Two supplemental MP3 files are included with this thesis to demonstrate proposed mixing guidelines derived from the analysis.

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Van, Sickle Karen. "Assessing Five Piano Theory Methods Using NASM Suggested Theory Guidelines For Students." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/217071.

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Many incoming students have studied piano prior to entering college and receive much of their theory training through music study with a piano teacher. The National Association of Schools of Music (NASM) designed a website page for potential students to answer the question, "How should I best prepare to enter a conservatory, college, university as a music major?" Theoretical concepts they suggest can be grouped into three main categories: Basic Music Theory Rudiments, Ear-Training Skills, and Form and Harmony. This research examines five piano theory method books (Alfred Premier Piano Course, Bastien Piano Basics, Faber Piano Adventures, Harris Celebrate Piano!, and Kjos Fundamentals of Piano Theory) to assess their effectiveness in presenting the theoretical concepts NASM recommends they should know. The five books used for this study provide a basic foundation for many of the concepts undergraduates will be expected to know as they enter college theory courses.

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McVay, Michael (Michael Jones). "Scriabin: A New Theory of Harmony and Structure." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc501031/.

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The thesis speculates upon the source of Scriabin's pitch selection in several of his atonal works, concluding that Scriabin's "principle" stems from his own "mystic chord," its inversion at the major third, and the transposition of these two chords at the tritone. These four chords share the same invariant harmonic basis, Scriabin's characteristic French-sixth sonority. The quartet of chords combine to form two nine-note scales, each containing as a subset the octatonic scale. The thesis demonstrates how Scriabin composed his works in harmonic blocks, utilizing only the notes from these scales. The thesis traces Scriabin's atonal style back to his tonal period. His fascination with tritone adjacencies and relationships is discussed, and serves to support the theory. Other harmonic and linear theories are discussed. Also, the thesis shows how Scriabin used these scales structurally in his works.

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Owens, Paul School of English UNSW. "Cognitive load theory and music instruction." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22994.

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Cognitive load theory assumes that effective instructional design is subject to the mechanisms that underpin our cognitive architecture and that understanding is constrained by the processing capacity of a limited working memory. This thesis reports the results of six experiments that applied the principles of cognitive load theory to the investigation of instructional design in music. Across the six experiments conditions differed by modality (uni or dual) and/or the nature of presentation (integrated or adjacent; simultaneous or successive). In addition, instructional formats were comprised of either two or three sources of information (text, auditory musical excerpts, musical notation). Participants were academically able Year 7 students with some previous musical experience. Following instructional interventions, students were tested using auditory and/or written problems; in addition, subjective ratings and efficiency measures were used as indicators of mental load. Together, Experiments 1 and 2 demonstrated the benefits of both dual-modal (dual-modality effect) and physically integrated formats over the same materials presented as adjacent and discrete information sources (split-attention effect), confirming the application of established cognitive load effects within the domain of music. Experiment 3 compared uni-modal formats, consisting of auditory rather than visual materials, with their dual-modal counterparts. Although some evidence for a modality effect was associated with simultaneous presentations, the uni-modal format was clearly superior when the same materials were delivered successively. Experiment 4 compared three cognitively efficient instructional formats in which either two or three information sources were studied. There was evidence that simultaneously processing all three sources overwhelmed working memory, whereas an overlapping design that delayed the introduction of the third source facilitated understanding. Experiments 5 and 6 varied the element interactivity of either two- or three- source formats and demonstrated the negative effects of splitting attention between successively presented instructional materials. Theoretical implications extend cognitive load principles to both the domain of music and across a range of novel instructional formats; future research into auditory only formats and the modality effect is suggested. Recommendations for instructional design highlight the need to facilitate necessary interactions between mutually referring musical elements and to maintain intrinsic cognitive load within working memory capacity.

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Song, Chunyang. "Syncopation : unifying music theory and perception." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/15132.

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Syncopation is a fundamental feature of rhythm in music. However, the relationship between theory and perception is currently not well understood. This thesis is concerned with characterising this relationship and identifying areas where the theory is incomplete. We start with a review of relevant musicological background and theory. Next, we use psychophysical data to characterise the perception of syncopation for simple rhythms. We then analyse the predictions of current theory using this data and identify strengths and weaknesses in the theory. We then introduce further psychophysical data which characterises the perception of syncopation for simple rhythms at different tempi. This leads to revised theory and a new model of syncopation that is tempo-dependent.

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Louboutin, Corentin. "Modélisation multi-échelle et multi-dimensionnelle de la structure musicale par graphes polytopiques." Thesis, Rennes 1, 2019. http://www.theses.fr/2019REN1S012/document.

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Il est raisonnable de considérer qu'un auditeur ne perçoit pas la musique comme une simple séquence de sons, pas plus que le compositeur n'a conçu son morceau comme tel. La musique est en effet constituée de motifs dont l'organisation intrinsèque et les relations mutuelles participent à la structuration du propos musical, et ce à plusieurs échelles simultanément. Cependant, il est aujourd'hui encore très difficile de définir précisément le terme de concept musicale. L'un des principaux aspects de la musique est qu'elle est en grande partie constituée de redondances, sous forme de répétitions exactes et variées. L'organisation de ces redondances permet de susciter une attente chez l'auditeur. Une surprise peut alors être créée en présentant des éléments qui ne correspondent pas à cette attente. Ce travail de thèse se base sur l'hypothèse que les redondances, l'attente et la surprise sont des éléments essentiels pour la description de la structure musicale d'un segment. Un certain nombre de questions découlent de ce constat: quels sont les éléments musicaux qui participent à la structure d'un objet musical ? Quelles sont les dépendances entre ces éléments qui jouent un rôle essentiel dans la structuration d'un objet musical ? Comment peut-on décrire une relation entre deux éléments musicaux tels que des accords, des motifs rythmiques ou mélodiques ? Dans ce manuscrit, des éléments de réponse sont proposés par la formalisation et l'implémentation d'un modèle multi-échelle de description de la structure d'un segment musical : les Graphes Polytopiques à Relations Latentes (GPRL/PGLR). Dans ce travail, les segments considérés sont les sections successives qui forment une pièce musicale. Dans le cas de la pop, genre musical sur lequel se concentre ce travail, il s'agit typiquement d'un couplet ou d'un refrain, de 15 sec. environ, comprenant un début et une fin bien définis. En suivant le formalisme PGLR, les relations de dépendance prédominantes entre éléments musicaux d'un segment sont celles qui relient les éléments situés à des positions homologues sur la grille métrique du segment. Cette approche généralise sur le plan multi-échelle le modèle Système&Contraste qui décrit sous la forme d'une matrice 2×2 le système d'attente logique au sein d'un segment et la surprise qui découle de la réalisation de cette attente. Pour des segments réguliers de taille 2^n, le PGLR peut être représenté sur un n-cube (carré, cube, tesseract, ...), où n est le nombre d'échelles considérées. Chaque nœud du polytope correspond à un élément musical fondamental (accord, motif, note...), chaque arête représente une relation entre deux nœuds et chaque face représente un système de relations. La recherche du PGLR correspondant à la meilleure description de la structure d'un segment musical s'opère par l'estimation jointe : de la description du polytope (un n-polytope plus ou moins régulier) ; de la configuration du graphe sur le polytope, permettant de décrire le flux de dépendance et les interactions entre les éléments par des implications élémentaires systémiques au sein du segment ; la description de l'ensemble des relations entre les nœuds du graphe. Le but du modèle PGLR est à la fois de décrire les dépendances temporelles entre les éléments d'un segment et de modéliser l'attente logique et la surprise qui découlent de l'observation et de la perception des similarités et des différences entre ces éléments. Cette approche a été formalisée et implémentée pour décrire la structure de séquences d'accords ainsi que de segments rythmiques et mélodiques, puis évaluée par sa capacité à prédire des segments inconnus. La mesure utilisée pour cette évaluation est la perplexité croisée calculée à partir des données du corpus RWC POP. Les résultats obtenus donnent un large avantage à la méthode multi-échelle proposée, qui semble mieux à même de décrire efficacement la structure des segments testés
In this thesis, we approach these questions by defining and implementing a multi-scale model for music segment structure description, called Polytopic Graph of Latent Relations (PGLR). In our work, a segment is the macroscopic constituent of the global piece. In pop songs, which is the main focus here, segments usually correspond to a chorus or a verse, lasting approximately 15 seconds and exhibiting a clear beginning and end. Under the PGLR scheme, relationships between musical elements within a musical segment are assumed to be developing predominantly between homologous elements within the metrical grid at different scales simultaneously. This approach generalises to the multi-scale case the System&Contrast framework which aims at describing, as a 2×2 square matrix, the logical system of expectation within a segment and the surprise resulting from that expectation. For regular segments of 2^n events, the PGLR lives on a n-dimensional cube (square, cube, tesseract, etc...), n being the number of scales considered simultaneously in the multi-scale model. Each vertex in the polytope corresponds to a low-scale musical element, each edge represents a relationship between two vertices and each face forms an elementary system of relationships. The estimation of the PGLR structure of a musical segment can then be obtained computationally as the joint estimation of : the description of the polytope (as a more or less regular n-polytope) ; the nesting configuration of the graph over the polytope, reflecting the flow of dependencies and interactions as elementary implication systems within the musical segment, the set of relations between the nodes of the graph. The aim of the PGLR model is to both describe the time dependencies between the elements of a segment and model the logical expectation and surprise that can be built on the observation and perception of the similarities and differences between elements with strong relationships. The approach is presented conceptually and algorithmically, together with an extensive evaluation of the ability of different models to predict unseen data, measured using the cross-perplexity value. These experiments have been conducted both on chords sequences, rhythmic and melodic segments extracted from the RWC POP corpus. Our results illustrate the efficiency of the proposed model in capturing structural information within such data

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40

Lefcoe, Andrew H. "Kuhn's paradigm in music theory (Thomas Kuhn)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0027/MQ50536.pdf.

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41

Culpepper, Sarah Elizabeth. "Musical time and information theory entropy." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/659.

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Many theorists have connected information content in music with the listener's perception of the passage of time. This thesis uses the construct of information theory entropy, developed in the 1940s by Bell Labs engineer Claude Shannon, to describe the passage of time in Webern's music. Entropy scores are computed based on pitches, intervals, CSEGs, and pc-sets; these scores are then used to examine the first of the Five Canons, op. 16, and the fourth of the Five Movements for String Quartet, op. 5.

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42

Dennis, Robb. "Multiple Intelligence Theory and its Application in Modern Vocal Pedagogy." Scholarship @ Claremont, 1998. http://scholarship.claremont.edu/cgu_etd/99.

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In 1983, Howard Gardner shook the foundations of intelligence testing and the field of education by suggesting that there are seven distinct intelligences. These intelligences had testable and distinct attributes that were supported by his research at the Boston Veterans Administration. This research cited the existence of savants and prodigies, isolation by brain damage, and psychometric findings as support for Multiple Intelligence Theory. Widely accepted by the education community at large, the application of MI principles has been further elaborated in the writings of Thomas Armstrong and David Lazear. Can the principles of Multiple Intelligence Theory be applied in the area of modern vocal pedagogy? After surveys of the foundations of vocal pedagogy and the principles ofMI theory, the author suggests they can. What follows is an analysis of two current vocal pedagogy texts, Van Clu·isty's Foundations in Singing and Jan Sclunidt's Basics of Singing to determine the variety and use ofMI principles in each. After the analysis, the author suggests applications of MI principles, using aspects of their song learning chapters as a template that can be adapted to any vocal pedagogy text.

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43

Ripley, Angela N. "Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437583773.

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44

Harvey, David I. H. "The later music of Elliott Carter a study in music theory and analysis /." New York : Garland Pub, 1989. http://catalog.hathitrust.org/api/volumes/oclc/19321659.html.

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45

Stellings, Alan. "Music cognition as musical culture, a philosophical investigation of cognitivist theory of music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0005/NQ28131.pdf.

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46

Harvey, David I. H. "The later music of Elliott Carter : a study in music theory and analysis." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:c47d92da-277e-4850-9e3b-e5e0cd93308f.

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Any composer's writings form an important source for the critical study of his music: they must nevertheless be used with care, Carter's writings are considered as part of a tradition in American music. His musical development up to 1959 is briefly sketched, with particular reference to those elements which with hindsight can be seen to have been most significant in the evolution of a mature musical language - various experimental and non-western musical traditions, influences from other domains of art, and the philosophy of A. N. Vhitehead. In order to avoid the spectre of 'merely technical analysis' of atonal music, we need an analytical approach which can describe the way in which the characteristic properties of a musical surface (principally pitch register and duration; secondarily dynamic and timbre) act to create larger structures in time. Pitch-class Set Theory is rejected as embodying an unacceptable level of abstraction, and failing to account for the dynamic, developmental aspects of musical structure, Instead, a more flexible and sensitive method is developed, drawing on an alternative analytical tradition for twentieth-century music. Precedents and justifications for this method are sought in contemporary accounts of structure in general, and parallels and distinctions are drawn between the hierarchic structures of tonal music, atonal music, and language, This context-sensitive analytical approach is then applied to three of Carter's most characteristic works: the String Quartet no.2 (1959); the Double Concerto for Harpsichord, Piano, and Two Chamber Orchestras (1961); and the Concerto for Orchestra (1969).

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Hammond, Julian Francis. "It will discourse most eloquent music : towards a theory of writing-on-music." Thesis, University of Leeds, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413918.

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Jenney, Charles Davis. "A.F.C. Kollmann's theory of homophonic forms." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260458396.

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49

Smith, Eron F. "A Theory of Form as Temporal Referentiality." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/161.

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This study proposes temporal referentiality—roughly defined as the orientation of substance in its temporal medium—as a theoretical and analytical framework for musical form. Operating on the principle of music as a temporally extended entity, this thesis explores the connections that occur between substance across its medium, suggests an additional interpretation of medium connections (temporality) in terms of language tense, and examines substance connections (referentiality) through different types of filtering. I also propose a means for visual and literary interpretation of temporal referentiality, depicting a network of substance relationships established over a piece’s timespace. Analysis of this type assumes a listener’s complete familiarity with the substance in its temporal boundaries. Visual representations portray the amount and strength of future- and past-oriented musical substance at a given point in time, including which sections are connected to one another (medium connection) and which variables or features of sameness are responsible for this connection (substance connection). Employing an analogy between orientation and tense, it also becomes feasible to construct a “model prose composition” with the same temporal referentiality as a piece of music. Finally, a system of filtering serves to isolate portions of medium and substance and to clarify what elements are responsible for the elusive concept of “sameness.” The possibilities for temporal reference analysis are applied to the first movements of Bartók’s Fourth String Quartet and Brahms’s Violin Concerto, as well as Bach’s Contrapunctus #9 from The Art of Fugue and the Variations movement of Webern’s Symphony op. 21.

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Stahl, Geoff. "Troubling below : rethinking subcultural theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43954.pdf.

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Dissertations / Theses on the topic 'Music theory Music theory Harmony'

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