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Relevant bibliographies by topics / Serialism (Music) Musical analysis

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Academic literature on the topic 'Serialism (Music) Musical analysis'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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Journal articles on the topic "Serialism (Music) Musical analysis"

1

Ferraz, Silvio. "Beckett e música : composição do tempo." Eutomia 1, no. 20 (February 19, 2018): 180. http://dx.doi.org/10.19134/eutomia-v1i20p180-201.

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Beckett tinha uma grande proximidade com a música. Isto é registrado em diversas de suas cartas, entrevistas e mesmo atravessa sua produção. Mas de que música estamos falando quando falamos de Beckett? Neste artigo busco mostrar a proximidade entre o pensamento compositivo de Beckett e aquelas propostas que permearam a música experimental do século XX: o serialismo integral, o tratamento do tempo, do silêncio e a importância da sonoridade. Para tanto faço uso das noções de tempo trabalhadas pelos compositores Iannis Xenakis e Gérard Grisey, e de uma análise de momentos da obra radiofônica Cascando, nas suas versões da RTF em 1963 e BBC3 em 1964.Palavras-chave: Cascando, serialismo integral, silêncio, tempo musical, Xenakis, Grisey.Abstract: It is very known that music was strongly related to Beckett quotidian. Music is always present in letters, interviews, plays and narratives. But what music we are thinking when having Beckett thought in mind? In this paper I tried to put together Beckett writing thought, his compositional thought, with the main propositions of the XX Century Music as: integral serialism, the ideas of time, the presence of the silence and the importance of the sound. In that sense, I take notions of time from composers as Iannis Xenakis and Gérard Grisey, to analyses the presence of time and silence in the composition of Beckett’s Cascando, in its two versions - RTF in 1963 and BBC3 in 1964.Key-words: Cascando, integral serialism, silence, musical time, Xenakis, Grisey.

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Salem, Joseph. "Boulez's Künstlerroman: Using blocs sonores to Overcome Anxieties and Influence in Le marteau sans maître." Journal of the American Musicological Society 71, no. 1 (2018): 109–54. http://dx.doi.org/10.1525/jams.2018.71.1.109.

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Previous scholarship on Pierre Boulez's Le marteau sans maître celebrates the analytical basis of the piece, with particular emphasis on Boulez's concept of the bloc sonore and its role in Le marteau's design. This article synthesizes aspects of this scholarship with Boulez's personal reflections from the years 1953–55, many of which remain unpublished to this day. Utilizing Boulez's correspondence with Karlheinz Stockhausen and John Cage, as well as his own published writings and the sketches for Le marteau, I present the story of an artist on the path to self-discovery. I also shift the discussion of blocs sonores away from viewing them as musical objects necessary for the analysis of Le marteau to recognizing their significance as a cultural and aesthetic concept at the heart of Boulez's artistic development at this time. Finally, I use the literary trope of “anxiety of influence” to relate Boulez's own maturation to his struggle to escape the shadow and influence of Schoenberg. By humanizing a work that is often cited for its analytical virtuosity and poetic audacity rather than the network of biographical circumstances behind its creation, I attempt to reorient our ears from the rigidness of integral serialism to the broader significance of Boulez's score.

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Mikolon, Anna. "Composition trends in polish vocal lyric. Musical language features in polish songs after the mid-20th century based on selected examples." Notes Muzyczny 2, no. 12 (December 13, 2019): 175–98. http://dx.doi.org/10.5604/01.3001.0013.7176.

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The subject for analysis were works for voice and piano by selected Polish composers of the 20th and 21st centuries, e.g. Grażyna Bacewicz, Tadeusz Baird, Henryk Czyż, Henryk Mikołaj Górecki, Henryk Hubertus Jabłoński, Wojciech Kilar, Zygmunt Krauze, Szymon Laks, Witold Lutosławski, Juliusz Mieczysław Łuciuk, Wojciech Łukaszewski, Paweł Łukaszewski, Maciej Małecki, Paweł Mykietyn, Edward Pałłasz, Konrad Pałubicki, Krzysztof Penderecki, Witold Rudziński, Marian Sawa, Kazimierz Serocki, Tadeusz Szeligowski and Romuald Twardowski. An important matter for the author was to determine whether there are common features for this creative genre. She also attempted to find an answer to the question if the trends from the second half of the 20th century were reflected in songs. The scope of analysis covered the repertoire the author knew from her performance practice from the standpoint of a pianist. To the general characteristics of selected songs she added a review of famous trends, techniques and styles of composition, such as impressionism, neoromanticism, expressionism, dodecaphony, serialism, punctualism, minimalism, sonorism, spectralism, neoclassicism, vitalism, postmodernism, aleatoricism, bruitism, microtonality, electronic music, musique concrète, stochastic music, references to previous periods, to folklore and to popular music. She compared musical notation of the analysed works. She also confronted forms of songs with contemporary composition techniques. Interesting was the approach of composers to chamber relations in a duo and the way they made texts musical. Most composers distanced themselves from the avant-garde in works for voice and piano which had a specific poetic text because of the clarity of narration. Matching composers unequivocally to just one trend turned out impossible. Various techniques and phenomena may co-exist in one piece and in the same way one creator may search for different means of expression.

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Craig, Dale A. "Trans–Cultural Composition in the 20th Century." Tempo, no. 156 (March 1986): 16–18. http://dx.doi.org/10.1017/s0040298200022075.

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The most remarkable development in 20th-century music has been the gradual rise of transcultural music to status as the dominant activity of composers. Interaction between musics of various types within the same culture, and between cultures (including those separated from us in historical time), has been more important than the conventionally-recognized classifications of 20th-century musical activity such as expressionism, atonality, impressionism, neo-classicism (in its purist, Eurocentric stance), serialism, total serialism, chance, and minimalism (when it poses as an intellectual movement without cross-cultural referrents).

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Gillmor, Alan. "The Apostasy Of George Rochberg." Articles 29, no. 1 (February 3, 2010): 32–48. http://dx.doi.org/10.7202/039109ar.

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Abstract An exploration of George Rochberg’s much-publicized rejection of musical modernism—in particular serialism—in the early 1960s. The paper will explore Rochberg’s conception of musical time and space, duration in music and its relationship to the roles of memory, identity, intuition, and perception in the shaping of human experience. It will explain his notion of the “metaphysical gap between human consciousness and cosmos,” which he derived in part from Wittgenstein’s proposition that ethical and aesthetic judgments lie outside the property of language. In Rochberg’s view, serialism fails to provide an organic three-dimensional model of duration as experienced through the human perception of time: past (memory) and future (anticipation) become conflated into a continuous present, and the crucial balance between information and redundancy has malfunctioned.

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Zagorski, Marcus. "Material and History in the Aesthetics of ‘Serielle Musik’." Journal of the Royal Musical Association 134, no. 2 (2009): 271–317. http://dx.doi.org/10.1080/02690400903109083.

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Attempts to promote the aesthetic prestige of serial and post-serial music were grounded in theories of material and philosophies of history. As composers explored new aspects of sound and subjected these to rational organization, they saw themselves pushing history forward, with new musical materials providing physical evidence for each new stage of progress. The continual search for new material fashioned a thread that bound together vastly different personalities, and similar ideas about material and history linked a diversity of approaches to, and reactions against, serialism. Believing themselves to be renouncing a subjectivity made untrustworthy by the recent past, many post-war composers turned to something larger to guide their compositional decisions: to the objective dictate of historical progress. Such deference to a fictitious construction of history veiled subjective aesthetic preferences and provided a way to legitimate new techniques with the authority of ‘higher laws’. This article reconsiders post-war serialism in central Europe from the perspective of theories of material and examines how these theories coupled aesthetic and social concerns with philosophy of history to justify compositional techniques.

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Pamungkas, Yayi Wira. "Penggunaan Aturan Ular Tangga dalam Musik Aleatorik Berbasis Serialisme Integral." Journal of Music Science, Technology, and Industry 3, no. 2 (October 21, 2020): 201–22. http://dx.doi.org/10.31091/jomsti.v3i2.1157.

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Purpose: The author does an experiment by using the rules of snake and ladder to find out and understand how the concept of uncertainty can work in serialism-based aleatoric music: by testing it using the most stringent serialism system, namely the system of integral serialism. Research methods: The process of creating the composition of this artistic research work has five stages, namely the exploration stage, the concept preparation stage, the concept analysis stage, the macro structure preparation stage, and the concept application stage. Results and discussion: The concept of snake and ladder can optimize the concept of uncertainty in serialism-based aleatoric music. The integral serialism system dominates the formation of melody and harmony, while the concept of snake and ladder that is aleatoris is used as phrase control. Implication: There are two phenomena that stimulate the creation of the idea of creation of this artistic research work, namely the problem of stiffness and weak characteristics of the concept of uncertainty in serialism-based aleatoric music.

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Durazzi, Bruce. "Luigi Nono's Canti di vita e d'amore: Musical Dialectics and the Opposition of Present and Future." Journal of Musicology 26, no. 4 (2009): 451–80. http://dx.doi.org/10.1525/jm.2009.26.4.451.

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Luigi Nono's Canti di vita e d'amore represents a moment of stylistic shift in the composer's output, and also a change in his political commitments. As Nono's political commitments shifted from a kind of Left idealism to more immediate forms of social activism, so his composition turned from abstract integral serialism to more immediately perceptible constructive strategies. Canti di vita e d'amore not only exhibits these new developments in compositional technique, but also deploys those techniques to support the work's long-range narrative of emergence from present-day crisis into a future of light and hope.

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STRAUS, JOSEPH N. "A Revisionist History of Twelve-Tone Serialism in American Music." Journal of the Society for American Music 2, no. 3 (July 18, 2008): 355–95. http://dx.doi.org/10.1017/s1752196308080115.

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AbstractThe history of twelve-tone serial music in the United States extends from the late 1920s to the present day. Practitioners of a distinctively American brand of twelve-tone music have included many well-known composers in three distinct waves of activity: prewar experimentation by native-born “ultra-modern” composers amid an influx of European émigrés; a postwar boom; and a third wave of twelve-tone activity since 1980. This extensive repertoire shares certain structural features, including twelve-note aggregates and serial ordering, but even these very general compositional commitments are subject to individual modification, and American twelve-tone serial music has taken astonishingly varied forms. To give an accurate account of this music's history, we must first pry away the many myths that have accreted around it. In the process, we will need to abandon historiographical models that focus on one or two “great men” and that describe the history of style as a series of changing fashions. This article proposes that we regard American music since 1925 as a dynamic steady state within which modernist styles, including twelve-tone serialism, persist as vibrant strands within the postmodern musical fabric.

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Tizón Díaz, Manuel, and Francisco Gómez Martín. "The Influence of Musical Style in Perceived Emotion." Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM 17 (July 3, 2020): 85–131. http://dx.doi.org/10.5209/reciem.65311.

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In this work we address the problem of understanding how musical style influences perceived emotion as well as their pedagogical consequences. The first problem arises when considering the very definition of style. The definition of musical style and how to apply it is thoroughly discussed. Several experiments were carried out in order to gain understanding about the emotional response to musical style. Six styles (Baroque, Classicism, Romanticism, pandiatonicism, twelve-tone serialism, and Phrygian mode) were selected and pieces were composed in those styles to be later played to both musicians and novices. Their perceived emotional response was measured and the results were analyzed thereafter. Differences were found across styles, mode and musical background, including complex patterns in valence and arousal. Last but not least, the knowledge acquired from this research can be incorporated a corpus for application and future study and use in music conservatories and centers for higher education and investigation.

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Dissertations / Theses on the topic "Serialism (Music) Musical analysis"

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Jurkowski, Nicholas. "Berio's early use of serial techniques an analysis of Chamber music /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1251044362.

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Tönies, Simon. "Au fond de l'inconnu : Technique et esthétique dans "Polyphonie X" de Pierre Boulez." Thesis, Université Côte d'Azur, 2021. http://www.theses.fr/2021COAZ2000.

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Écrite en 1951, "Polyphonie X" est une œuvre clé des débuts du sérialisme et une pierre angulaire de la phase la plus expérimentale dans la carrière de Pierre Boulez. Cependant, le fait que la pièce ait été retirée peu après sa création a inhibé la possibilité même d’une réception ou d’une compréhension adéquate. Le présent travail vise à combler cette lacune en fournissant une analyse approfondie des procédés de composition sous-jacents ainsi qu’une discussion esthétique. En plus des trois mouvements achevés de "Polyphonie X", son prédécesseur Première Polyphonie, plus vaste, mais abandonné à un stade rudimentaire, est également pris en considération. Après un bref aperçu du contexte historique et une discussion sur le concept de polyphonie de Boulez, l’analyse se poursuit en deux étapes : tout d’abord, la structure complexe de fond est reconstruite à partir des esquisses en accordant une attention particulière à la relation entre les différentes dimensions compositionnelles telles que la hauteur, le rythme ou le timbre. Ensuite, il est examiné comment le compositeur travaille avec cette structure de fond dans la partition afin, par exemple, d’accentuer certains potentiels perceptifs. À cette fin, une méthodologie d’analyse harmonique est proposée qui intègre également les conclusions de diverses recherches empiriques axées sur la perception. Les résultats de l’analyse sont ensuite pris comme point de départ pour une critique esthétique. Il est soutenu que le rejet de "Polyphonie X" par Boulez résulte d’une crise non résolue de la créativité subjective par rapport à un matériau musical de plus en plus aliéné et auto-perpétué. En outre, il est estimé que c’est précisément ce conflit qui rend la pièce pertinente, c’est à dire transformatrice en ce qui concerne la conception traditionnelle de l’œuvre. Enfin, à la lumière de ces considérations, je fais quelques suggestions sur la manière dont la pièce peut être abordée aujourd’hui.
Written in 1951, "Polyphonie X" is a key work of early serialism and a corner stone of the most experimental stage in Pierre Boulez’s career. However, the fact that the piece has been withdrawn shortly after its premiere has inhibited the very possibility of an adequate reception or understanding. The present study aims to fill this gap by providing an in-depth analysis of the underlying compositional procedures as well as an aesthetic discussion. In addition to the three completed movements of "Polyphonie X", its larger scoped but only rudimentarily mapped-out predecessor Première Polyphonie is also taken into consideration. After a brief overview of the historical context and a discussion of Boulez’s concept of polyphony, the analysis proceeds in two steps: Firstly, the intricate background structure is reconstructed from the sketch material, paying particular attention to the relationship between the different compositional dimensions such as pitch, rhythm or timbre. Secondly, it is examined how the composer works with this background structure in order to, for example, accentuate certain perceptive potentials. To this end, I propose a methodology of harmonic analysis that also incorporates the findings of empirical, perception-centered research. The results of the analysis are then taken as a starting point for an aesthetic critique. It is argued that Boulez’s rejection of "Polyphonie X" is the result of an unsolved crisis of creative agency in relation to an increasingly alienated, self-perpetuating musical material. Moreover, it is opined that it is precisely this conflict that makes for the transformative relevancy of the piece. Finally, in light of these considerations, I make some suggestions as to how the piece can be approached today

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Owen, Trefan. "Life Cycle: A Musical Composition in Four Movements." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1510.

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Life Cycle is a modern musical composition written for chamber orchestra. Life Cycle is scored for flute, clarinet, electric guitar, viola, cello, glockenspiel, vibraphone, marimba and drum kit. This composition is composed in four movements, each representing a different phase of the composer's musical life-journey. Life Cycle infuses elements and techniques from the Classical idiom with jazz, pop and rock idioms.

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Higashikawa, Ai. "Conception musicale et enjeux esthétiques dans les relations entre les écritures instrumentale et électroacoustique chez Pierre Boulez." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL003.

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Cette recherche de thèse vise à reconstruire des éléments de genèse de la composition électroacoustique de Pierre Boulez dans les années cinquante à travers l’étude d’esquisses et de manuscrits conservés au Paul Sacher Stiftung. Notre thèse s’est fondée sur deux approches complémentaires : la reconstitution du contexte musical, esthétique et historique et l’étude des esquisses. Dans la Partie I, nous avons tout d’abord examiné les Fonds Pierre Schaeffer afin de retracer le déroulement du premier stage de musique concrète au GRMC. La réorganisation des esquisses et la reconstitution du processus de montage sonore nous ont permis de souligner que la composition des deux études de musique concrète (1951-52) était une étape indispensable pour le développement de la pensée sérielle de Boulez dans le sérialisme intégral. Dans la Partie II, nous avons mis en relation la composition de Symphonie mécanique (1955) et Poésie pour pouvoir (1958) avec le concept de « sons organisés » dans Déserts (1954) d’Edgard Varèse en traçant la transition de la musique concrète à la musique mixte. Boulez y a développé la notion de « blocs sonores » originairement exploitée dans l’écriture instrumentale et orchestrale. Notre étude a éclairé que Boulez avait procédé par tâtonnements de façon cohérente et développée afin de réaliser l’intégration des mondes instrumentaux et électroacoustiques. En ce sens, il est raisonnable que Poésie pour pouvoir soit considérée comme l’origine de la « musique mixte » chez Pierre Boulez. Par ailleurs, cette tentative de confrontation était inévitable pour Boulez afin de réaliser la transmutation musicale de l’exorcisme corporel du poème de Henri Michaux
This research aims to reconstruct the compositional process of Pierre Boulez’s electroacoustic compositions of the fifties through the study of sketches and manuscripts preserved at the Paul Sacher Stiftung. Our thesis was based on two complementary approaches: the reconstruction of the musical, aesthetic and historical context and study of the sketches. In Part I, we first examined the Pierre Schaeffer archives in order to explore the program of the first musique concrète workshop at the GRMC. The eorganization of the sketches and the reconstruction of the process of sound synthesis allowed us to emphasize that Boulez’s composition of the two musique concrète studies (1951-52) was an indispensable stage for the development of his concept of serialism. In Part II, we related the composition of Symphonie mécanique (1955) and Poésie pour pouvoir (1958) to Edgard Varèse's concept of "Organized sound" in Déserts (1954) by tracing the transition of musique concrète to electroacoustic music. Boulez developed in his electroacoustic pieces the notion of "sound blocks" originally used in instrumental and orchestral pieces. Our study reveals that Boulez proceeded by trial and error in a coherent and developed way in order to realize the integration of the instrumental and electroacoustic sounds. In this sense, it is reasonable for Poésie pour pouvoir to be considered as the origin of mixed music in Pierre Boulez’s oeuvre. This confrontation of the instrumental and electroacoustic sounds was essential for Boulez’s realization of a musical translation of Henri Michaux's poem

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Xavier, Gabriel Fernandes 1992. "Por um método analítico generalizado : uma investigação da teoria ondulatória de Henri Pousseur no campo de análise musical /." São Paulo, 2019. http://hdl.handle.net/11449/183657.

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Orientador(a): Florivaldo Menezes Filho
Banca: Maurício Funcia De Bonis
Banca: Leonardo Martinelli
Resumo: Este trabalho aborda a pesquisa de Henri Pousseur exposta no ensaio "Por uma periodicidade generalizada", tendo em vista os possíveis desdobramentos de sua teoria no âmbito de análise musical. Pousseur identifica em diferentes fenômenos sonoro musicais relações de complementariedade entre periodicidade e aperiodicidade que, por meio de progressivas generalizações, são redutíveis a modelos comuns. Mediado por modelos da teoria ondulatória, o autor nos propõe que organizações sonoras complexas são, tanto físico quanto perceptivelmente, delimitadas por formas mais simples. Partindo desta proposição, a pesquisa investiga a aplicabilidade do método no campo de análise musical
Abstract: This research deals with the research of Henri Pousseur published in the essay "For a Generalized Periodicity", considering possible developments of his theory in the field of musical analysis. Pousseur identifies, in different musical sound phenomena, complementarity between periodicity and aperiodicity which, throughout progressive generalizations, are reducible to common wave models. Mediated by models of undulatory theory, the author proposes that complex sound organizations are, both physically and perceptually, delimited by simpler forms. Starting from this proposition, the research apply the method in the field of musical analysis
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LaFleur, Brandon Kyle. "Musical Colors| On Establishing a Methodology for Color Applications in Musical Analysis." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271870.

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This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin?s Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen?s Des Canyons aux etoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Ciurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist?s purpose.

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McLeod, Philip, and n/a. "Fast, accurate pitch detection tools for music analysis." University of Otago. Department of Computer Science, 2009. http://adt.otago.ac.nz./public/adt-NZDU20090220.090438.

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Precise pitch is important to musicians. We created algorithms for real-time pitch detection that generalise well over a range of single �voiced� musical instruments. A high pitch detection accuracy is achieved whilst maintaining a fast response using a special normalisation of the autocorrelation (SNAC) function and its windowed version, WSNAC. Incremental versions of these functions provide pitch values updated at every input sample. A robust octave detection is achieved through a modified cepstrum, utilising properties of human pitch perception and putting the pitch of the current frame within the context of its full note duration. The algorithms have been tested thoroughly both with synthetic waveforms and sounds from real instruments. A method for detecting note changes using only pitch is also presented. Furthermore, we describe a real-time method to determine vibrato parameters - higher level information of pitch variations, including the envelopes of vibrato speed, height, phase and centre offset. Some novel ways of visualising the pitch and vibrato information are presented. Our project �Tartini� provides music students, teachers, performers and researchers with new visual tools to help them learn their art, refine their technique and advance their fields.

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Harrison, L. "Music analysis and musical perception : studies in the psychology of musical structure." Thesis, Lancaster University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328316.

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Xaluva, Nomfundo. "An analysis of the musical style of Miriam Makeba." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8249.

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Includes bibliographical references (leaves 56-67).
The motivation behind this study is to explore the musical style of the late Miriam Makeba. The intention is that it will add a valuable contribution to the study of South African musicians and those subsequent scholars, with a common interest, will use the work to further the analytical study of the musical style of South African jazz.

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Votta, Roberto. "Pluralidade e unidade: uma análise dos processos composicionais no Balé Agon, de Igor Stravinsky." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-095102/.

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O balé Agon é considerado o ápice da produção conjunta entre Stravinsky e o coreógrafo russo George Balanchine, e sua concepção foi repleta de descontinuidades. As ideias iniciais que motivaram a composição do balé datam de 1948, entretanto, Stravinsky começou a esboçar os primeiros rascunhos somente no final de 1953 e concluiu a obra, após algumas interrupções, em meados de 1957. Durante os anos de criação do balé, Stravinsky operou mudanças significativas em seu processo composicional, alguns movimentos remetem ao diatonismo de seu período neoclássico, enquanto outros são construídos a partir de elaborações seriais, desenvolvidas pelo compositor após o início da década de 1950. Este trabalho expõe os diferentes aspectos envolvidos na concepção do balé e, através da análise dos processos composicionais presentes na obra, busca determinar pontos de conexão em meio às referências díspares estabelecidas no diálogo entre música e dança.
The ballet Agon is considered the apex of the partnership between Stravinsky and the russian choreographer George Balanchine, and its creation was full of discontinuities. The initial ideas that motivated the composition of the ballet came up in 1948, but only in the end of 1953 Stravinsky began sketching the first drafts, and then in 1957, after some interruptions, he completed the work. During this years, Stravinsky made significant changes in his compositional process, some movements refers to the diatonicism of his neoclassical period, while others are constructed from serial elaborations, all of them developed by the composer after the 1950s. This dissertation expounds the several different aspects about the creation of the ballet and through the analysis of the compositional processes in the work, it attempts to determine the connection among the disparate references established in the dialogue between music and dance.

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Books on the topic "Serialism (Music) Musical analysis"

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Set theory objects: Abstractions for computer-aided analysis and composition of serial and atonal music. Frankfurt am Main: P. Lang, 1994.

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Ordnungsprinzip oder Konstruktion?: Die Entwicklung der Tonsprache Arnold Schönbergs am Beispiel seiner Klavierwerke. München: Musikverlag Katzbichler, 1997.

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White, John David. Comprehensive musical analysis. Landham, Md: Scarecrow Press, 2003.

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Comprehensive musical analysis. Metuchen, N.J: Scarecrow Press, 1994.

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Essays in musical analysis. Oxford [England]: Oxford University Press, 1989.

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Francis, Tovey Donald. Essays in musical analysis. Oxford [England]: Oxford University Press, 1989.

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Burkhart, Charles. Anthology for musical analysis. 4th ed. New York: Holt, Rinehart and Winston, 1986.

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Berry, Wallace. Structural functions in music. New York: Dover, 1987.

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Arnold, Whittall, ed. Music analysis in theory and practice. London: Faber Music, 1988.

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The analysis of musical form. Upper Saddle River, N.J: Pearson Prentice Hall, 2007.

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Book chapters on the topic "Serialism (Music) Musical analysis"

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Mazzola, Guerino, Jason Noer, Yan Pang, Shuhui Yao, Jay Afrisando, Christopher Rochester, and William Neace. "Serialism: Failure of New Concepts Without Musical Impact." In The Future of Music, 111–18. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39709-8_11.

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Giraud, Mathieu, Richard Groult, and Florence Levé. "Computational Analysis of Musical Form." In Computational Music Analysis, 113–36. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25931-4_5.

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Godøy, Rolf Inge. "Chunking Sound for Musical Analysis." In Computer Music Modeling and Retrieval. Genesis of Meaning in Sound and Music, 67–80. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02518-1_4.

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Cambouropoulos, Emilios. "The Harmonic Musical Surface and Two Novel Chord Representation Schemes." In Computational Music Analysis, 31–56. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-25931-4_2.

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Fichet, Laurent. "Musical Analysis Using Mathematical Proceedings in the XXth Century." In Mathematics and Music, 139–45. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_8.

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Igarashi, Soh, Tomonobu Ozaki, and Koichi Furukawa. "Respiration Reflecting Musical Expression: Analysis of Respiration during Musical Performance by Inductive Logic Programming." In Music and Artificial Intelligence, 94–106. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-45722-4_10.

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Xambó, Anna, Robin Laney, Chris Dobbyn, and Sergi Jordà. "Video Analysis for Evaluating Music Interaction: Musical Tabletops." In Music and Human-Computer Interaction, 241–58. London: Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-2990-5_14.

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Loughran, Róisín, Jacqueline Walker, Michael O’Neill, and James McDermott. "Genetic Programming for Musical Sound Analysis." In Evolutionary and Biologically Inspired Music, Sound, Art and Design, 176–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-29142-5_16.

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Zagorski-Thomas, Simon. "Analysing the Product of Recorded Musical Activity." In The Routledge Companion to Popular Music Analysis, 117–32. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315544700-8.

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Canazza, Sergio, Giovanni De Poli, and Alvise Vidolin. "Perceptual analysis of the musical expressive intention in a clarinet performance." In Music, Gestalt, and Computing, 441–50. Berlin, Heidelberg: Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0034132.

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Conference papers on the topic "Serialism (Music) Musical analysis"

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Lee, Jong In, Dong-Gyu Yeo, Byeong Man Kim, and Hae-Yeoun Lee. "Automatic Music Mood Detection through Musical Structure Analysis." In 2009 2nd International Conference on Computer Science and its Applications (CSA). IEEE, 2009. http://dx.doi.org/10.1109/csa.2009.5404218.

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Ferreira, Leonardo, Estela Ribeiro, and Carlos Thomaz. "A cluster analysis of benchmark acoustic features on Brazilian music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10444.

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In this work, we extend a standard and successful acoustic feature extraction approach based on trigger selection to examples of Brazilian Bossa-Nova and Heitor Villa Lobos music pieces. Additionally, we propose and implement a computational framework to disclose whether all the acoustic features extracted are statistically relevant, that is, non-redundant. Our experimental results show that not all these well-known features might be necessary for trigger selection, given the multivariate statistical redundancy found, which associated all these acoustic features into 3 clusters with different factor loadings and, consequently, representatives.

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Malik, Rakesh, Partha Pratim Roy, Umapada Pal, and Fumitaka Kimura. "Handwritten Musical Document Retrieval Using Music-Score Spotting." In 2013 12th International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2013. http://dx.doi.org/10.1109/icdar.2013.170.

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"Analysis on Conservatory of Music and Musical Intangible Cultural Heritage." In 2018 4th International Conference on Economics, Management and Humanities Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ecomhs.2018.093.

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Araújo, João, Rogerio Constante, Flávio Luiz Schiavoni, and Octávio Deluchi. "Harmonia: a MuseScore's plugin to teach music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10447.

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Information and Communication Technologies (ICTs) have been characterized as a very effective resource for promoting innovation in the way of teaching and learning. In relation to the musical area, computer software of musical notation, like MuseScore, has been more and more used for the musical compositions and to teach and learn music writing, musical arrangement, composition and counterpoint. MuseScore is a free software that can easily be applied to academic purposes, such as universities, for teaching students in music fields and can also be used in the professional life of students who have graduated from courses that use it. In addition, it allows the implementation of plugins for various purposes, such as the analysis of scores in relation to various preset parameters. In this context, this work aims to present the development of the Harmonia, an open source plugin for MuseScore focused on teaching musical analysis and automatic verification of scores based in harmony predefined rules.

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Magalhaes, Tairone, Felippe Barros, and Maurício Loureiro. "Iracema: a Python library for audio content analysis." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10418.

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This paper introduces the alpha version of a Python library called Iracema, which aims to provide models for the extraction of meaningful information from recordings of monophonic pieces of music, for purposes of research in music performance. With this objective in mind, we propose an architecture that will provide to users an abstraction level that simplifies the manipulation of different kinds of time series, as well as the extraction of segments from them. In this paper we: (1) introduce some key concepts at the core of the proposed architecture; (2) list the current functionalities of the package; (3) give some examples of the application programming interface; and (4) give some brief examples of audio analysis using the system.

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Chung, Ji Yun, and Myoung Jun Kim. "Music recommendation model by analysis of listener's musical preference factor of K-pop." In ICISS '18: 2018 International Conference on Information Science and System. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3209914.3209932.

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Loureiro, Maurício, Tairone Magalhaes, Davi Mota, Thiago Campolina, and Aluizio Oliveira. "A retrospective of the research on musical expression conducted at CEGeME." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10440.

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CEGeME - Center for Research on Musical Gesture and Expression is affiliated to the Graduate Program in Music of the Universidade Federal de Minas Gerais (UFMG), hosted by the School of Music, Belo Horizonte, Brazil, since 2008. Focused on the empirical investigation of music performance, research at CEGeME departs from musical content information extracted from audio signals and three-dimensional spatial position of musicians, recorded during a music performance. Our laboratories are properly equipped for the acquisition of such data. Aiming at establishing a musicological approach to different aspects of musical expressiveness, we investigate causal relations between the expressive intention of musicians and the way they manipulate the acoustic material and how they move while playing a piece of music. The methodology seeks support on knowledge such as computational modeling, statistical analysis, and digital signal processing, which adds to traditional musicology skills. The group has attracted study postulants from different specialties, such as Computer Science, Engineering, Physics, Phonoaudiology and Music Therapy, as well as collaborations from professional musicians instigated by specific inquiries on the performance on their instruments. This paper presents a brief retrospective of the different research projects conducted at CEGeME.

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Coop, Allan D. "Sonification, Musification, and Synthesis of Absolute Program Music." In The 22nd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.030.

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When understood as a communication system, a musical work can be interpreted as data existing within three domains. In this interpretation an absolute domain is interposed as a communication channel between two programatic domains that act respectively as source and receiver. As a source, a programatic domain creates, evolves, organizes, and represents a musical work. When acting as a receiver it re-constitutes acoustic signals into unique auditory experience. The absolute domain transmits physical vibrations ranging from the stochastic structures of noise to the periodic waveforms of organized sound. Analysis of acoustic signals suggest recognition as a musical work requires signal periodicity to exceed some minimum. A methodological framework that satisﬁes recent deﬁnitions of soniﬁcation is outlined. This framework is proposed to extend to musiﬁcation through incorporation of data features that represent more traditional elements of a musical work such as melody, harmony, and rhythm.

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Oliveira Neto, Aluizio. "Iterative Meditations: The use of audio feature extraction tools on acousmatic composition." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10460.

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This piece explores some possibilities of using Music Information Retrieval and Signal Processing techniques to extract acoustic features from recorded material and use this data to inform the decision making process that is intrinsic to music composition. By trying to identify or create sound descriptors that correlate to the composer’s subjective sensations of listening it was possible to compare and manipulate samples on the basis of this information, bridging the gap between the imagined acoustic targets and the actions required to achieve it. “Iterative Meditations” was created through an iterative process of listening, analyzing, acting and refining the analysis techniques used, having as end product the musical piece itself as well as gathering a collection of tools for writing music.

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Reports on the topic "Serialism (Music) Musical analysis"

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.

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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.

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