Relevant bibliographies by topics / Music theory. Schenkerian analysis

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  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Music theory. Schenkerian analysis'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Music theory. Schenkerian analysis"

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Brown, Matthew, Panayotis Mavromatis, Carl Schachter, and Joseph N. Straus. "Unfoldings: Essays in Schenkerian Theory and Analysis." Journal of Music Theory 45, no. 2 (2001): 457. http://dx.doi.org/10.2307/3653445.

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Legowo, Adityo. "Analisis Schenkerian Pada Komposisi L’Armonia Opus 148.5 Gitar Klasik Karya Mauro Giuliani." PROMUSIKA 6, no. 2 (2019): 83–89. http://dx.doi.org/10.24821/promusika.v6i2.2458.

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Ada beragam jenis cara analisis musik namun yang selama ini lebih dikenal dan dipelajari di lingkungan penulis, adalah analisis bentuk musik. Ada cara lain dalam bidang analisis, salah satunya adalah analisis schenkerian. Melalui cara analisis tersebut maka akan didapatkan struktur tonal yang terdalam dari sebuah sistem musik tonal. Cara ini sama sekali belum umum di Indonesia untuk saat ini. Maka dari itu penulis ingin mempelajari lebih dalam mengenahi cara analisis schenkerian. Untuk materi pembahasan akan dibatasi pada karya Mauro Giuliani komposisi L’Armonia opus 148. 5 untuk gitar klasik.
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Jung, Se Eun, and Moo Kyoung Song. "A Reexamination of the Schenkerian Theory for the Analysis of the Late-Romantic Music." Journal of the Musicological Society of Korea 23, no. 1 (2020): 11–41. http://dx.doi.org/10.16939/jmsk.2020.23.1.11.

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BERRY, DAVID CARSON. "Hans Weisse and the Dawn of American Schenkerism." Journal of Musicology 20, no. 1 (2003): 104–56. http://dx.doi.org/10.1525/jm.2003.20.1.104.

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ABSTRACT Many musicians contributed to the early spread of Schenkerian ideas in the U.S., but one played a crucial and unparalleled role during the earliest decade, the 1930s: Hans Weisse (1892––1940), one of Schenker's most esteemed students. Although Jewish, Weisse was not a political or war refugee, as were later Schenker éémigréés. Instead, he came to the U.S. to teach, in the fall of 1931; by the time his former colleagues were finding their ways from Europe, Weisse had already become an American citizen. He died prematurely in 1940, but by then his impact on the pedagogy of music theory
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Lerdahl, Fred. "Prolongational structure and schematic form in Tristan's “Alte Weise”." Musicae Scientiae 2, no. 1_suppl (1998): 27–41. http://dx.doi.org/10.1177/10298649980020s104.

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The “alte Weise” melody for solo cor anglais from the beginning of Act III of Tristan und Isolde is submitted to a double analysis. First, it is treated by the techniques of Jackendoff's and my A Generative Theory of Tonal Music, yielding a prolongational structure that resembles a Schenkerian analysis even though it is based on contrasting principles. In the course of this analysis connections are made to other passages in Tristan. Second, the melody is treated according to schematic phrasal norms, yielding surface and underlying phrasal forms. Nattiez's paradigmatic approach is then adapted
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Rabinovitch, Gilad. "Implicit Counterpoint in Gjerdingen's Schemata." Music Theory and Analysis (MTA) 6, no. 1 (2019): 1–50. http://dx.doi.org/10.11116/mta.6.1.1.

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Robert Gjerdingen has claimed that schema finding diverges from contrapuntal pitch reduction, Schenkerian or otherwise. Commentators have criticized his approach (see the reviews by Joel Lester in Journal of Music Theory [1990] and Kofi Agawu in Music Theory Spectrum [1991]) and have discussed intersections between schemata and contrapuntal reduction (see the articles by Folker Froebe and Oliver Schwab-Felisch in Music Theory and Analysis [2014] and by Stefan Rohringer in Zeitschrift der Gesellschaft für Musiktheorie [2015]). Here I address this conundrum from a different angle: I propose that
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DIERGARTEN, FELIX. "EDITORIAL." Eighteenth Century Music 14, no. 1 (2017): 5–11. http://dx.doi.org/10.1017/s1478570616000270.

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Quo vadis, eighteenth-century music analysis? This is the question I wish to pose in 2017, a year marking some notable anniversaries. It has been ten years since the appearance of Robert Gjerdingen's Music in the Galant Style (New York: Oxford University Press, 2007), a book that opened up a wide range of new perspectives on eighteenth-century music and simultaneously shook Anglo-American music analysis at a time when it was on the look-out for post-Schenkerian alternatives. Likewise, 2017 is the tenth anniversary of Giorgio Sanguinetti's presentation on Neapolitan partimenti at the European M
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Moore, Allan. "The so-called ‘flattened seventh’ in rock." Popular Music 14, no. 2 (1995): 185–201. http://dx.doi.org/10.1017/s0261143000007431.

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This article began, quite simply, as the presentation of a stage in the mapping-out of those harmonic practices which serve to distinguish rock and closely cognate styles (hereafter simply ‘rock’) from those of common-practice tonality on one hand, and jazz on another. It soon became apparent, however, that such a task necessitated some detailed consideration of the means by which the conclusions might be presented and, therefore, some careful consideration of analytic method. To my knowledge, there is as yet very little concern for theorising analytic method in rock music and, therefore, what
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McAdams, Stephen. "Musical Forces and Melodic Expectations: Comparing Computer Models and Experimental Results." Music Perception 21, no. 4 (2004): 457–98. http://dx.doi.org/10.1525/mp.2004.21.4.457.

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Recent work on "musical forces" asserts that experienced listeners of tonal music not only talk about music in terms used to describe physical motion, but actually experience musical motion as if it were shaped by quantifiable analogues of physical gravity, magnetism, and inertia. This article presents a theory of melodic expectation based on that assertion, describes two computer models of aspects of that theory, and finds strong support for that theory in comparisons of the behavior of those models with the behavior of participants in several experiments. The following summary statement of t
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Jenkins, Chadwick. "Recapitulation as process: The augmented-second tetrachord in the first movement of Haydn’s Op. 33, no. 5." Studia Musicologica 51, no. 3-4 (2010): 347–67. http://dx.doi.org/10.1556/smus.51.2010.3-4.8.

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The first movement of Haydn’s Op. 33, no. 5 string quartet famously opens with a closing gesture — a move from dominant to tonic chord accompanying a rising tetrachord. This opening puts the entire notion of closure into question and threatens to eviscerate the cadence of its efficacy. Moreover, Haydn ratchets up the tension created by the tetrachord motive’s omnipresence by altering its intervallic structure during the development in order to include an augmented second. What generically would be considered an almost banal cadential gesture becomes an agent of disruption that promises to dera
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Dissertations / Theses on the topic "Music theory. Schenkerian analysis"

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Carrabré, Ariel. "Understanding Schenkerian Analysis from the Perspective of Music Perception and Cognition." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32850.

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This thesis investigates the perceptual and cognitive reality of Schenkerian theory through a survey of relevant empirical research. It reviews existing Schenkerian-specific empirical research, examines general tonal research applicable to Schenkerian analysis, and proposes the possibility of an optimal empirical research method by which to explore the theory. It evaluates data dealing with musical instruction’s effect on perception. From this review, reasonable evidence for the perceptual reality of Schenkerian-style structural levels is found to exist. This thesis asserts that the perception
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Yust, Jason D. "Formal models of prolongation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11317.

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Whittle, Barbara. "The cultural context of the theories of Heinrich Schenker." Thesis, n.p, 1993. http://ethos.bl.uk/.

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Stevens, Bryan. "Formal Organization in Ground-bass Compositions." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804844/.

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This thesis examines formal organization in ground-bass works. While it is true that many or even most works of the ground-bass repertoire are variation sets over a ground, there also exist many ground-bass works that are not in variation form. The primary goal of this thesis is to elucidate the various ways in which such non-variation formal organizations may be achieved. The first chapter of this work discusses the general properties of ground basses and various ways that individual phrases may be placed in relation to the statements of the ground. The second chapter considers phrases groupi
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Robb, Hamish James Alexander. "Organicism, motivic parallelism, and performance in Beethoven's piano sonata op. 2 no. 3 : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/944.

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Graf, Benjamin. "An Analytical Study of Paradox and Structural Dualism in the Music of Ludwig van Beethoven." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849697/.

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Beethoven's rich compositional language evokes unique problems that have fueled scholarly dialogue for many years. My analyses focus on two types of paradoxes as central compositional problems in some of Beethoven's symphonic pieces and piano sonatas. My readings of Beethoven's Piano Sonata No. 27 (Op. 90), Symphony No. 4 (Op. 60), and Symphony No. 8 (Op. 93) explore the nature and significance of paradoxical unresolved six-four chords and their impact on tonal structure. I consider formal-tonal paradoxes in Beethoven's Tempest Sonata (Op. 31, No. 2), Ninth Symphony (Op. 125), and Overture die
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Ishihama, Kanako. "Triangles of Soul—Schubert the “Wanderer” and His Music Explained by Neo-Riemannian Graphs." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23148.

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In Schubert’s music, the theme “wandering” is used frequently, closely related to human life and death. I presume that, being stricken by serious illness and facing challenging relationships, Schubert lived his short life with agony and dismay, confronting the life theme “death.” In that sense, Schubert himself was probably the wanderer who kept trudging throughout his life journey. In 1822, Schubert composed the allegorical tale “My Dream,” and in that tale, he writes as follows; “when I attempted to sing of love, it turned to pain. And again, when I tried to sing of pain, it turned to love.
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Naxer, Meghan M. "César Franck’s Trois chorals pour orgue No. 3: A Schenkerian Perspective." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1293670461.

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Desbruslais, Simon Stephen. "The identity, application and legacy of Paul Hindemith's theory of music." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:eadcc792-503f-46e3-960c-e1d08ccb8cd0.

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This thesis investigates the relationship between Hindemith’s music theory and his evolving compositional practice. It focuses on the first volume of his Unterweisung im Tonsatz (1937); both evaluating the very identity of the treatise and analysing how it may be applied to free composition. Above all, this work highlights the increased use of quartal pitch collections found in Hindemith’s Unterweisung-based compositions. Archival documents from the universities of Yale, Berlin, Buffalo, and the Frankfurt Hindemith Institute augment this process, and are used to revise our understanding of how
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Yun, Xiao. "Tonal Enigmas: A Study of Problematic Openings and Endings." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248491/.

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When talking about tonal music, we sometimes tend to take for granted the idea that the tonic should always be clearly established either at the beginning or the end. However, there are composers who sometimes deviate from the normal path by creating different types of riddles or tonal enigmas in their works. Some of these riddles can be solved later on as the piece progresses; yet others may need to bexplained with the help of some external references. This thesis examines three such examples, each of which poses its unique enigma. The second movement of Bruckner's Symphony No. 1 presents a d
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Books on the topic "Music theory. Schenkerian analysis"

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Blasius, Leslie David. Schenker's argument and the claims of music theory. Cambridge University Press, 1996.

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Eybl, Martin. Ideologie und Methode: Zum ideengeschichtlichen Kontext von Schenkers Musiktheorie. Schneider, 1995.

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Schenker, Heinrich. Free composition =: Der freie Satz : volume III of New musical theories and fantasies. Schirmer Books, 1990.

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Pierce, Alexandra. Deepening musical performance: The theory and practice of embodied interpretation. Indiana University Press, 2007.

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Clayton, Cadwallader Allen, ed. Essays from the Fourth International Schenker Symposium. Olms, 2008.

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Clayton, Cadwallader Allen, and Miyake Jan, eds. Essays from the Third International Schenker Symposium. Olms, 2006.

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1960-, Eybl Martin, and Fink-Mennel Evelyn, eds. Schenker-Traditionen: Eine Wiener Schule der Musiktheorie und ihre internationale Verbreitung = a Viennese school of music theory and its international dissemination. Böhlau, 2006.

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Pierce, Alexandra. Deepening musical performance through movement: The theory and practice of embodied interpretation. Indiana University Press, 2010.

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Schenker, Heinrich. Der Tonwille. Georg Olms, 1990.

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Der Tonwille: Pamphlets in witness of the immutable laws of music, offered to a new generation youth. Oxford University Press, 2004.

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Book chapters on the topic "Music theory. Schenkerian analysis"

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Beach, David. "Music and Text." In Schenkerian Analysis. Routledge, 2019. http://dx.doi.org/10.4324/9780429453793-10.

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Herremans, Dorien, David Martens, and Kenneth Sörensen. "Composer Classification Models for Music-Theory Building." In Computational Music Analysis. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25931-4_14.

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Pitt, Ivan L. "Theory Review." In Economic Analysis of Music Copyright. Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6318-5_5.

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Hamanaka, Masatoshi, Keiji Hirata, and Satoshi Tojo. "Implementing Methods for Analysing Music Based on Lerdahl and Jackendoff’s Generative Theory of Tonal Music." In Computational Music Analysis. Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25931-4_9.

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Robinson, Thomas. "Articles." In Popular Music Theory and Analysis. Routledge, 2017. http://dx.doi.org/10.4324/9781315465296-1.

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Robinson, Thomas. "Books." In Popular Music Theory and Analysis. Routledge, 2017. http://dx.doi.org/10.4324/9781315465296-2.

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Robinson, Thomas. "Collections." In Popular Music Theory and Analysis. Routledge, 2017. http://dx.doi.org/10.4324/9781315465296-3.

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Robinson, Thomas. "Dissertations." In Popular Music Theory and Analysis. Routledge, 2017. http://dx.doi.org/10.4324/9781315465296-4.

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Fuller, Rainon. "VII. Toward A Theory Of Webemian Harmony, Via Analysis With A Digital Computer." In The Computer and Music, edited by Harry B. Lincoln. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501744167-010.

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Buongiorno Nardelli, Marco. "MUSICNTWRK: Data Tools for Music Theory, Analysis and Composition." In Lecture Notes in Computer Science. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70210-6_14.

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Conference papers on the topic "Music theory. Schenkerian analysis"

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Lin, Xiaolan, Chuanzhen Li, Hui Wang, and Qin Zhang. "Analysis of Music Rhythm Based on Bayesian Theory." In 2009 International Forum on Computer Science-Technology and Applications. IEEE, 2009. http://dx.doi.org/10.1109/ifcsta.2009.312.

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Calvo-Zaragoza, Jorge, Gabriel Vigliensoni, and Ichiro Fujinaga. "Pixelwise classification for music document analysis." In 2017 Seventh International Conference on Image Processing Theory, Tools and Applications (IPTA). IEEE, 2017. http://dx.doi.org/10.1109/ipta.2017.8310134.

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Jing Li, Maoyong Cao, and Liang Pei. "Resolution analysis of the MUSIC-based TOA algorithm." In 2010 IEEE International Conference on Information Theory and Information Security (ICITIS). IEEE, 2010. http://dx.doi.org/10.1109/icitis.2010.5689668.

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Takamoto, Ayaka, Mayu Umemura, Mitsuo Yoshida, and Kyoji Umemura. "Improving compression based dissimilarity measure for music score analysis." In 2016 International Conference On Advanced Informatics: Concepts, Theory And Application (ICAICTA). IEEE, 2016. http://dx.doi.org/10.1109/icaicta.2016.7803107.

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Yi, Liu. "Analysis on Importance of Multimedia Technology Teaching in Music Theory Teaching." In 2014 Conference on Informatisation in Education, Management and Business (IEMB-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/iemb-14.2014.79.

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Das, M., D. M. Howard, and S. L. Smith. "Motion curves in music: the statistical analysis of midi data." In Proceedings 25th EUROMICRO Conference. Informatics: Theory and Practice for the New Millennium. IEEE, 1999. http://dx.doi.org/10.1109/eurmic.1999.794756.

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Misael, Luan, Carlos Forster, Emanuel Fontelles, Vinicius Sampaio, and Mardônio França. "Temporal Analysis and Visualisation of Music." In Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2020. http://dx.doi.org/10.5753/eniac.2020.12155.

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This paper proposes a temporal analysis for music metadata using a generative probabilistic model for collections the discrete datasets such as text corpora. This method is also a topic model that is used for discovering abstract topics from a collection of documents. The method is then applied to audio metadata and song lyrics extracted with Echo Nest® engine, Spotify® Lyrics Genius® API. Song data time series are generated by grouping data items by release date, genre and dominant topics (from LDA analysis). Using a technique from Network Theory we visualise how these topics, in this case, g
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Nemati, Shahla, and Ahmad Reza Naghsh-Nilchi. "Exploiting evidential theory in the fusion of textual, audio, and visual modalities for affective music video retrieval." In 2017 3rd International Conference on Pattern Recognition and Image Analysis (IPRIA). IEEE, 2017. http://dx.doi.org/10.1109/pria.2017.7983051.

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Hussein, Hussein, Burkhard Meyer-Sickendiek, and Timo Baumann. "Tonality in Language: The Generative Theory of Tonal Music as a Framework for Prosodic Analysis of Poetry." In TAL2018, Sixth International Symposium on Tonal Aspects of Languages. ISCA, 2018. http://dx.doi.org/10.21437/tal.2018-36.

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Zhang, Hanlu. "Analysis of the Current Situation and Trend of Chinese Music Education Under the Framework of Supply and Demand Theory." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.438.

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