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Relevant bibliographies by topics / Musical palindrome

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Academic literature on the topic 'Musical palindrome'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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Journal articles on the topic "Musical palindrome"

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Petrović, Milena, Gordana Ačić, and Vera Milanković. "Sound of picture vs picture of sound: Musical palindrome." New Sound, no. 50-2 (2017): 217–28. http://dx.doi.org/10.5937/newso1750217p.

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This study investigated whether and how the musical palindrome (tonal, melodic, and metric) can be recognized in auditory and/or visual perception in musically trained participants. According to the results, we suggest that palindrome recognition can only be aurally perceived if it is short enough and the listener is quite sophisticated. There is a fair amount of research on the recognition of transformed auditory and visual patterns, as well as the visual symmetry perception in persons with ASD. Thus, a future study will test more people with ASD, on one hand, and musically trained participants recognizing short musical palindromes.

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Stadlen, Peter, and Nicolas Donin. "Le malentendu pointilliste." Circuit 15, no. 1 (2010): 27–40. http://dx.doi.org/10.7202/902339ar.

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Ce texte est la traduction française de la conférence donnée par le pianiste et musicologue Peter Stadlen lors du Congrès Webern qui eut lieu à Vienne en mars 1972. L’auteur montrait tout d’abord que dans plusieurs oeuvres de la fin de la production de Webern, la prédilection du compositeur pour le palindrome musical joua un rôle déterminant dans l’organisation des séries de hauteurs et de durées. Mais à ceux qui ne voyaient en Webern qu’un mathématicien froid et abstrait, il faisait ensuite découvrir, à la lumière des informations recueillies auprès du compositeur alors qu’il travaillait avec lui les Variations pour piano op. 27, en vue de la création qui eut lieu à Vienne le 26 octobre 1937, un « poète lyrique » soucieux d’expressivité.

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von Renesse, Christine. "Musical Palindromes for Liberal Arts Students." PRIMUS 22, no. 7 (2012): 525–37. http://dx.doi.org/10.1080/10511970.2011.642942.

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Newbould, Brian. "A Schubert Palindrome." 19th-Century Music 15, no. 3 (1992): 207–14. http://dx.doi.org/10.2307/746425.

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Newbould, Brian. "A Schubert Palindrome." 19th-Century Music 15, no. 3 (1992): 207–14. http://dx.doi.org/10.1525/ncm.1992.15.3.02a00040.

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Reichmann, Karl. "Press RETURN: The Palindrome Dance Company." Computer Music Journal 19, no. 4 (1995): 93. http://dx.doi.org/10.2307/3680994.

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Rosen, Michael, and Elliott Schwartz. "Palindromes for Cello and Percussion." Notes 49, no. 3 (1993): 1277. http://dx.doi.org/10.2307/899021.

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Cherlin, Michael. "Dramaturgy and Mirror Imagery in Schönberg's Moses und Aron: Two Paradigmatic Interval Palindromes." Perspectives of New Music 29, no. 2 (1991): 50. http://dx.doi.org/10.2307/833430.

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NELSON, MARK D. "In Pursuit of Charles Seeger's Heterophonic Ideal: Three palindromic Works by Ruth Crawford." Musical Quarterly LXXII, no. 4 (1986): 458–75. http://dx.doi.org/10.1093/mq/lxxii.4.458.

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"Erratum: Press RETURN: The Palindrome Dance Company." Computer Music Journal 20, no. 2 (1996): 3. http://dx.doi.org/10.2307/3681320.

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Dissertations / Theses on the topic "Musical palindrome"

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Pitts, James L. "Symmetrical Features of Nikolai Medtner's Language: The Grzovaya Sonata, Opus 53 No. 2." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2271/.

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Nikolai Medtner's works evidence an intense interest in symmetrical designs. This concern is manifest at all levels, from the large scale proportions of his numerous ingenious sonata forms to the symmetrically constructed themes and motives. Medtner's works include several instances of palindromic themes and periods. Some palindromic contours are achieved through immediate inversion, creating expansive, symmetrical waves. One of Medtner's thumbprints, symmetrical contrary voice-leading, consists of two or more voices which systematically expand or contract in exact mirror fashion. The contrary movement is usually stepwise, and may be either chromatic or diatonic. Occasionally even larger intervals, such as thirds and fourths, are subjected to this favourite mirroring technique. Such symmetrical expansion and contraction often controls the harmonic progression of several consecutive bars. One of the most striking aspects of Medtner's music is his sophisticated harmonic language. He was fascinated with symmetrical harmonic designs, such as the tritone, the French sixth chord, and the octatonic scale, and made endless and increasingly intricate explorations into these stuctures and the ways in which these apparently nontonal, non-hierarchical forms could be coordinated with the fundamental hierarchy of asymmetrical tonal forms, including triads, major and minor scales, and tonic-dominant relations. Medtner's late work, the Grozovaya Sonata, Opus 53 No.2, is the most concentrated and abstract of his works. The themes are built from highly lapidar motives, giving this work an intensely angular, rigorously mathematical character. All the symmetrical hallmarks of Medtner's language are in abundant evidence in this great work. Features include the extensive symmetrical mirroring of the opening section, frequent use of contrary voice leading as a generator of harmonic progression, and constant tritone shifting. Medtner also builds sequential chains based on two more symmetrical forms, the diminished seventh and the augmented triad. Finally, the design of this unique single movement sonata may be a hybrid of sonata form with palindrome. The Grozovaya Sonata is a microcosm of the symmetrical features of Medtner's language.

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Dribus, John Alexander. "Breaking Through: A Composition for Symphony Orchestra." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/dribus%5Fjohn%5Falexander/index.htm.

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Makela, Steven L. "Reconstructions: Nine Movements for Solo Soprano, Chorus, and Wind Ensemble." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2435/.

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Reconstructions is a nine-movement composition for solo soprano, chorus, and wind ensemble using texts from several of Emily Dickinson's poems. The soloist represents the main character in this dramatic work, and the narrative structure portrays abstract moments in this character's life. While the narrative structure of the reconstructed fragments is important to the form of the composition, other elements are also significant. Pitch structures generated from set theoretical systems, in addition to cyclic and palindromic structures are utilized throughout. Timbre also delineates the form, as various combinations of instruments and chorus create an evolving environment in which the soloist resides.

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Jacoby, Derek. "The Music of Lee Hyla| An Analysis of the First Movement of Concerto for Piano and Chamber Orchestra no. 2 and a Survey of Stylistic Elements in His Music, and an original composition, "Palindromic One| Number 31", for seven players." Thesis, Brandeis University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3562303.

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<p>The first part of this dissertation is a detailed analysis of the first movement of Lee Hyla’s <i>Concerto for Piano and Chamber Orchestra no. 2</i> (1991). The second part documents stylistic elements over the course of his compositional output.</p><p> The <i>Concerto</i> will serve as the focal point of analysis for two reasons. First, Hyla uses a more surface-level and audible musical narrative, a type of narrative he began employing in his music between 1981 and 1983. The <i>Concerto</i>, coming eight to ten years later, is sufficiently removed from the initial works, allowing this technique time to further develop. By 1991, other important facets of his approach emerged, elements employed in many compositions that followed, including some of his most recent.</p><p> The second reason for the selection of the <i>Concerto</i> pertains to the exact type of narrative employed. In Hyla’s compositions, the musical narrative ranges from almost completely flowing, in which most sections seamlessly transition to the next, to almost completely juxtaposed, in which blocks of contrasting music are linked with little or no transition. In the middle, there is a large gray area representing a merger of the two, partially flowing and partially juxtaposed. This is where the Concerto is found.</p><p> The second part of this analysis will examine several stylistic elements of Hyla’s larger style. Through numerous examples, drawn from well over a dozen pieces composed from 1978 to present, further light will be shed on some of the consistent compositional techniques found in Hyla’s music. </p>

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Maurer, Kathleen M. "Ned Rorem’s Poems of Love and the Rain and Paul Hindemith’s Hin und züruck: An Analysis of Two Twentieth-Century Vocal Works With an Emphasis On the Use of Mirror Form." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1186589055.

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Books on the topic "Musical palindrome"

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Schwartz, Elliott. Palindromes: For cello and percussion. Fallen Leaf Press, 1990.

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Symonds, Dominic. “You’ve Got to Be Carefully Taught”. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0003.

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This chapter explores some of the influence Sondheim’s mentor Oscar Hammerstein II may have had on the composer. With close analysis of the ways in which lyric patterning guided the structure of the music in several Rodgers and Hammerstein shows, the chapter suggests that one of their primary contributions to musical theater was to structure the dramatic dynamic of a show into the score through a use of extended song-form. I note in particular the way this works inCarousel(1945),Allegro(1947), andSouth Pacific(1949). The chapter then speculates about how Sondheim has developed this technique through a modular montaging of scenes and through the creation of palindromic trajectories within a whole show inA Little Night Music(1973) andSunday in the Park with George(1984).

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Lange, Barbara Rose. Recuperating the Alpine Image in Austrian Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190245368.003.0008.

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Chapter 7 discusses the identity politics of alpine music in Austria; alongside art music, it defined the nation until the turn of the millennium. The chapter describes how past and present adherents of the far right claimed the alpine as German-speaking rather than multiethnic, and as traditional in its gender roles. The chapter then explores how intellectuals and artists proposed new concepts of the nation. Neue Volksmusik (new folk music) was one expression, while other musicians such as Hubert von Goisern were explicit in their criticisms especially by the early 2000s, when far-right political parties joined Austria’s national governing coalition. The chapter discusses musicians of the 2000s who added female and multiethnic dimensions to the alpine while they fostered audience participation. Hotel Palindrone blended Celtic and alpine sounds, Netnakisum reversed assumptions about gender, and singer Agnes Palmisano recalled earlier times when female yodelers performed in Vienna salons.

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Book chapters on the topic "Musical palindrome"

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Variego, Jorge. "Form (Exercises 81–90)." In Composing with Constraints. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190057237.003.0006.

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The form of a composition is generally associated with its structure and evolution in time. The duality between similarity and contrast is vital when analyzing or composing form. Exercise 81 is based on the idea of contrast between sections; the goal of number 82 is to work with music blocks or modules; 83 is focused on the concept of developing variations as a formal approach (the variation of the variation). Exercise 84 brings back the traditional concept of variations on a theme; similarly, number 85 uses the traditional rondo form as a model. In 86 the core is the use of repetition as in minimalist music; 87 proposes an exercise about palindromic formal structures. Based on Earle Brown’s Available Forms, number 88 proposes a framework to challenge the idea of musical form as a fixed entity; 89 is about composing monolithic structures. The last exercise of the chapter, number 90, offers the opportunity to compose and explores ruled-based game compositions.

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Burnetts, Charles. "Sentiment and the ‘Smart’ Melodrama." In Improving Passions. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748698196.003.0007.

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Examines the ‘camp’ sensibility of two contemporary art-films, Lars von Trier’s Dancer in the Dark (2000) and Todd Solondz’ Palindromes (2004), focusing in particular on their respective treatments of melodrama as a genre attuned to the experience and suffering of women in US society. Meditating on the problem of gender and childhood in pastoral America, the analysis seeks to explore the negotiation of sentimentalist conventions borrowed from traditional film genres like the musical and the ‘maternal melodrama’, focusing in particular on issues of ‘play’ and camp performance. The discussion thus raises problems introduced in earlier chapters with regards to the self-reflexive bracketing of sentimentality as a discourse of sincerity and ethical subjectivity, emphasising its ambiguous presence in the art-film as a mode of fantasy and self-reflexive mythologizing.

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Conference papers on the topic "Musical palindrome"

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Haiyue, Wang, and Lee Chie Tsang Isaiah. "The Influence of Chinese Palindrome Poem on Musical Structure." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009446805050511.

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