Relevant bibliographies by topics / Twentieth-century music analysis

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  2. Dissertations / Theses
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Academic literature on the topic 'Twentieth-century music analysis'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Twentieth-century music analysis"

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Peters, Penelope M., and Jonathan Dunsby. "Models of Musical Analysis: Early Twentieth-Century Music." Journal of Music Theory 39, no. 1 (1995): 186. http://dx.doi.org/10.2307/843904.

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van den Toorn, Pieter C., and Jonathan Dunsby. "Models of Musical Analysis: Early Twentieth-Century Music." Music Analysis 14, no. 2/3 (1995): 340. http://dx.doi.org/10.2307/854018.

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Mark, Christopher, and Allan Moore. "Editorial." Twentieth-Century Music 1, no. 1 (2004): 3–4. http://dx.doi.org/10.1017/s1478572204000039.

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To start with the obvious: journals come into being for specific reasons. And if one regards the most influential titles born during the last thirty years or so, it seems that one of the principal motivating factors has been interventionist – an attempt to kick-start a particular subdiscipline, or to promote a hitherto neglected or insufficiently examined field. Thus Music Analysis (Basil Blackwell, 1982) sought to place on a fully professional footing a subdiscipline which, whilst recognized in North America (as Music Theory), was at that time underdeveloped in the UK, while 19th Century Musi
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Guigue, Didier. "Sonic Object: A model for twentieth‐century music analysis." Journal of New Music Research 26, no. 4 (1997): 346–75. http://dx.doi.org/10.1080/09298219708570734.

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Hyde, Martha M. "Twentieth-Century Analysis during the Past Decade: Achievements and New Directions." Music Theory Spectrum 11, no. 1 (1989): 35–39. http://dx.doi.org/10.1525/mts.1989.11.1.02a00060.

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NIELSEN, KRISTINA F. "Forging Aztecness: Twentieth-Century Mexican Musical Nationalism in Twenty-First Century Los Angeles." Yearbook for Traditional Music 52 (November 2020): 127–46. http://dx.doi.org/10.1017/ytm.2020.18.

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Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisi
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Martin, Henry. "Seven Steps to Heaven: A Species Approach to Twentieth-Century Analysis and Composition." Perspectives of New Music 38, no. 1 (2000): 129. http://dx.doi.org/10.2307/833591.

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Martins, José Oliveira. "Scalar Dissonance and the Analysis of Polytonal/Modal Mismatch in Twentieth-Century Music." Musurgia XXVI, no. 3 (2019): 49. http://dx.doi.org/10.3917/musur.193.0049.

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Smoliak, Oleg S., Anatoliy M. Bankovskyi, Oksana Z. Dovhan, Halyna S. Misko, and Natalia M. Ovod. "Stanyslav Lyudkevych’s Contribution to the History of Ukrainian Folk Music Research at the Beginning of the Twentieth Century." Musicological Annual 57, no. 1 (2021): 177–200. http://dx.doi.org/10.4312/mz.57.1.177-200.

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The article explores and analyzes the activities of the famous Ukrainian composer, musical folklore collector and researcher Stanyslav Lyudkevych in the early twentieth century. The article presents an analysis of the ethnographic collection Halytsko-ruski narodni melodii (Galician-Rus Folk Melodies), which contributed to the emergence of a new direction in Ukrainian folk music ethnographic research – comparative musicology. In particular, this analysis explores structural and typological characteristics of Ukranian folk music.
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Bashford, Christina. "Historiography and Invisible Musics: Domestic Chamber Music in Nineteenth-Century Britain." Journal of the American Musicological Society 63, no. 2 (2010): 291–360. http://dx.doi.org/10.1525/jams.2010.63.2.291.

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Abstract A persistent idea in chamber music historiography is that nineteenth-century Britain lacked a significant, serious domestic chamber-music culture of the type so prevalent in Austro-Germany. Such activity is assumed to have dried up ca. 1800, along with indigenous chamber-music composition, to be replaced by music making at the parlor piano and attendance at public concerts. This essay challenges that view and suggests a continuing, coherent subculture of private chamber music spread across Britain, often in unexpected settings and in communities of upper- and middle-class males. Under
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Dissertations / Theses on the topic "Twentieth-century music analysis"

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Crilly, David R. "Philosophical considerations of music analysis : positivism in twentieth-century musicology." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339085.

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Egge, Mark N. "Toward a Method for Performance Analysis of Twentieth-Century Music." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1130784707.

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Ferrandino, Matthew. "What to Listen for in Zappa: Philosophy, Allusion, and Structure in Frank Zappa's Music." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19249.

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In this thesis I explore how music-text relations in Frank Zappa’s music work together to express a central narrative, with a particular focus on his use of musical allusion. First, I frame Zappa’s creative perspective from a Dadaist philosophy, illuminating an underlying critique of American culture through the use of musical and lyrical devices such as allusion. I explore how Zappa uses allusion as a narrative device and how these allusions affect a listener’s interpretation of a track. Finally, I provide an in-depth analysis of “Billy the Mountain” from the 1972 album Just Another Band From
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Tee, Adam John. "The computer representation and thematic analysis of pre-twentieth century Western art music." Thesis, University of Leeds, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410894.

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Lington, Victoria DiMaggio. "The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2002.<br>Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).
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Murno, Hernan. "Music by twentieth-century Latin-American composers suitable for youth orchestra : a rationale, survey and analysis." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/558363.

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The purpose of this study was to identify pieces by Twentieth-Century Latin-American composers suitable for performance by Youth Orchestras in the United States. Scores available at the Indiana University Latin-American Music Center were primarily used. This allowed a more comprehensive search while limiting the scope of the study.Orchestral pieces were selected and examined for the study in order to provide insight into particulars of their individual styles and offer them together with pertinent information on the various composers.FindingsThe study identified five Latin-American composers w
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Taylor, Millie. "Music in theatre : towards a methodology for examining the interaction of music and drama in theatre works of the twentieth century." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324736.

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Kistner, Gavin. "Hip-Hop Sampling and Twentieth Century African-American Music: An Analysis of Nas' "Get Down" (2003)." Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23780/23780.pdf.

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Van, Klompenberg Martin J. "Characteristics of the School of British Bassoon Music of the Early and Mid-Twentieth Century, with Analysis of Representative Works." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/595633.

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Prior to 1851, music in Great Britain was influenced by the music of Germany, in particular by that of Johannes Brahms. This began to change, in part, because of the Great Exhibition of 1851, a forum held showing the best in raw materials, industrial design and new inventions, as well as the fine arts. This inspired new interest in English music and art. More importantly, this event led to the formation of the Royal College of Music, which opened in May of 1883. From this school an outpouring of distinctly English composers flowed, most of whom studied with Sir Charles Villiers Stanford. Among
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Gallagher, Daniel Ryan. "Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555601776064413.

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Books on the topic "Twentieth-century music analysis"

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Twentieth-century organ music. Routledge, 2011.

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Choral music in the twentieth century. Amadeus Press, 2002.

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1945-, Pettitt Stephen J., ed. The world of twentieth-century music. 2nd ed. R. Hale, 1991.

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Ewen, David. The world of twentieth-century music. 2nd ed. Hale, 1991.

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Lester, Joel. Analytic approaches to twentieth-century music. W.W. Norton, 1989.

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Theories and analyses of twentieth-century music. Harcourt Brace College Publishers, 1997.

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Wenk, Arthur. Analyses of nineteenth- and twentieth-century music, 1940-1985. Music Library Association, 1987.

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Music of the twentieth century: Style and structure. Schirmer Books, 1995.

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Music of the twentieth century: Style and structure. Collier Macmillan, 1987.

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Music of the twentieth century: Style and structure. Schirmer Books, 1986.

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Book chapters on the topic "Twentieth-century music analysis"

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"Schenker and the Twentieth Century: A Modernist Perspective." In Music Theory, Analysis, and Society. Routledge, 2017. http://dx.doi.org/10.4324/9781315090788-3.

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Auerbach, Brent. "A History of Motives—Theory and Analysis." In Musical Motives. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197526026.003.0003.

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Chapter 3 provides a history of the role of motives in Western music theory and analysis. The first section covers 1600–1750 C.E., the last period in which motive remained in its conceptual prehistory. At that time, the preeminent musical structure was the “figure,” a passage of music that conveyed a single character. The second section covers 1750–1890, a period in which the influence of figures waned as authors began theorizing about the smaller musical cells that make melodies logical, pleasant, and memorable. The third section of the survey concentrates on the work of Arnold Schoenberg, the composer-theorist who did the most during that time to popularize motive-based views of music. The fourth section covers 1950 to 2010, a period marked by stark changes in how motive was conceived and handled in analysis. Specifically, motives in the late twentieth century underwent intense fragmentation, a “boiling away” of their elements, often leaving behind only pitch intervals and/or rhythms. The chapter closes with a rumination on past and present conventions of motive and motivic analysis, laying groundwork for the rules and conventions to follow in chapters 4–7, the methodology portion of Musical Motives.
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Alexander, Phil. "Placing Berlin in the Music." In Sounding Jewish in Berlin. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190064433.003.0004.

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This chapter presents the third element fundamental to an overall picture: the music itself, with specific focus on the relationship between music, text, and the city. The chapter begins with a wider discussion of music’s role in sounding urban geographies. This is then set against the indeterminacy and ambiguities of “placing” klezmer music—a result of mid-twentieth-century rupture, subsequent postwar cultural submergence, and the transnationalism of its contemporary revival. The main body of the chapter is devoted to the specific ways that the city of Berlin is articulated through its klezmer music. In order to do this, the chapter takes as its starting point sociologist Adam Krims’s flexible concept of “urban ethos,” applying this for the first time to the processes of traditional music. Through detailed analysis of a series of musical examples, it shows the important ways in which the city of Berlin is made meaningful in its klezmer music—how exactly, through both music and text, the city functions as a significant musical-semantic unit. The musicians discussed include ?Shmaltz!, Daniel Kahn, and Knoblauch Klezmer Band, and the analysis is supported by detailed transcriptions and interview material. Throughout the chapter and through the work of these different artists, certain themes reappear—themes particularly pertinent to Berlin and Jewish musical production. These include notions of escape, borders, and transgression and the dialogue between visible and hidden histories. The chapter also uses David Kaminsky’s theorization of the “New Old Europe Sound” to question and problematize some of the urban expressions discussed.
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Siwe, Thomas. "An Emerging Literature for Percussion Ensemble." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0003.

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In the 1920s, a number of composers prophesied through their writings and their compositions how the music of the twentieth century would sound. Alexander Tcherepnin, Dimitri Shostakovich, George Antheil, and others contributed to the concept that percussion alone could be an instrumental force. This chapter examines in detail works by the French/American composer Edgard Varèse, so-called “father of percussion ensemble music,” including an analysis of his iconic composition for thirteen percussion players, Ionisation. Works by the composers Amadeo Roldán and José Ardévol draw on the Afro-Cuban rhythms of the Caribbean to create a new music, both classical and ethnic. Their compositions, along with those of the Mexican composer Carlos Chávez, served as paradigms for the music that followed.
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Ruprecht, Lucia. "Prologue." In Gestural Imaginaries. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659370.003.0001.

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The Prologue investigates The Rite of Spring in a triangular reading. It juxtaposes an analysis of Vaslav Nijinsky’s choreography with two signature texts on the piece, which are also key documents of early twentieth-century gestural theory: Theodor W. Adorno’s chapter on Stravinsky in his 1949 Philosophie der neuen Musik (Philosophy of New Music), and Jacques Rivière’s 1913 essay entitled “Le Sacre du printemps.” Sacre is considered a primal scene of modernist gesturality, as the moment at which the revolutionary power and conceptual reach of gesture become discernible. The Prologue carves out a theory of gesture that defines the gestural as a form of interruption of the flows of music and movement. Gesture is associated with a punctuating and punctuated energy that is considered as an aesthetic strategy of productive impairment that not only manifests, but also critically exposes the primitivism which is Sacre’s signature trait.
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Glen, Patrick. "The Entertainment Press." In The Edinburgh History of the British and Irish Press, Volume 3. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474424929.003.0023.

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This chapter provides an overview of the sector: the music and entertainment press’s antecedents, general functions and audiences. It analyses how papers, which reported upon art, music, film, theatre, dancing, comedy and variety performances, fulfilled a number of functions beside description and analysis. It explores their close ties to the entertainment industry: how they advocated their sector’s interests, publicised their commercial products and fostered networks of communication. The chapter then illustrates how, for most readers, entertainment and music papers described developments in modern urban, cosmopolitan leisure which readers could then interact with. Papers and magazines were gatekeepers for leisure opportunities, fashions and the informed consumption of mechanically reproduced mass culture. The chapter considers two publications that defined the twentieth century entertainment press – Sight &amp; Sound and Melody Maker – in detail. By exploring the changes to these papers and comparing them to their competitors, this chapter will explain historical development in the music and entertainment press’s role, interests and register. It therefore demonstrates the papers interactions with and, sometimes, influence upon broader movements in society and culture.
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Rodgers, Stephen. "Introduction." In The Songs of Fanny Hensel. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190919566.003.0001.

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This chapter provides an overview of the book as a whole. It opens with a brief history of Hensel studies—starting with the rediscovery of Hensel in the 1980s, leading through the growth of Hensel scholarship toward the end of the twentieth century, and ending with the current state of affairs—and argues that we need to understand Hensel’s music better. It then outlines some of the book’s guiding principles—including a belief in power of music analysis to access and communicate the wonders of Hensel’s songs and a commitment to exploring Hensel’s songs within its many diverse contexts—and explains the book’s overall organization around these contexts.
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Rogers, Jillian C. "Introduction." In Resonant Recoveries. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190658298.003.0001.

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This introductory chapter outlines the aims of Resonant Recoveries as well as the book’s theoretical and methodological apparatuses. In introducing one of the central arguments of this book—that music came to operate as a corporeal technology of consolation in interwar France—the introduction provides an overview of how late nineteenth- through mid-twentieth-century French artistic, psychological, sociological, and philosophical discourse framed the body as a privileged site for the production and development of knowledge about oneself and the world. In so doing, this introduction provides the socio-historical background for the historical and musical analysis that follows in subsequent chapters while also advocating a specific mode of interdisciplinary research that investigates how music has historically been conceived as a therapeutic, corporeal medium.
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Hasty, Christopher. "Problems of Meter in Early-Seventeenth-Century and Twentieth-Century Music." In Meter as Rhythm. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190886912.003.0014.

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This chapter assesses meter in early-seventeenth-century and twentieth-century music. Specifically, it analyzes compositions by Monteverdi, Schütz, Webern, and Babbitt. Monteverdi's “Ohimè, se tanto amate” from the fourth book of madrigals presents a metrical subtlety rarely encountered in eighteenth- and nineteenth-century music. Here the projective field is very mobile, and mensural determinacy is restricted to relatively small measures. Meanwhile, Schütz's concertato motet “Adjoro vos, filiae Jerusalem” from the Symphoniae sacrae, Book I (1629), demonstrates extremely subtle rhythmic detail and great projective contrast used in the service of a compelling larger gesture. Here the repetition of small melodic figures is used for the creation of complex projective fields that serve the continuity of phrases and sections. The chapter then looks at the much smaller measures and much greater ambiguity in some music of the twentieth century.
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Leong, Daphne. "Performers, Structure, and Ways of Knowing." In Performing Knowledge. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0001.

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This opening chapter presents the book’s overarching project: the illumination of relations between analysis and performance through theorist-performer collaborations on twentieth-century works. The project is set in the context of two distinct though overlapping disciplines: the tradition of relating analysis and performance within the field of music theory, and the field of musical performance studies. Musical structure, on which the book focuses, is broadly defined as relations among parts and whole, emerging through interactions of objective materials and subjective agency. Ways of knowing that arise in the course of relating analysis and performance are encapsulated by wissen (knowing that), können (knowing how), and kennen (knowing, as in knowing a person). The book’s title and form (a theme and variations) are briefly described. Two rehearsal vignettes (from Crumb’s Four Nocturnes for violin and piano and Shende’s Throw Down or Shut Up!), the first accompanied by a performance video, frame the chapter.
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