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Dissertations / Theses on the topic 'Twentieth-century music analysis'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Sauceda, Jonathan. "Opera and Society in Early-Twentieth-Century Argentina: Felipe Boero's El Matrero." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862860/.

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Premiering at the twilight of the gauchesco era and the dawn of Argentine musical Modernism, El matrero (1929) by Felipe Boero (1884-1958) remains underexplored in terms of its social milieu and artistic heritage. Instantly hailed as a masterpiece, the work retains a place in the local repertory, though it has never been performed internationally. The opera draws on myths of the gaucho and takes further inspiration from the energized intellectual environment surrounding the one-hundred-year anniversary of Argentine Independence. The most influential writers of the Centenary were Leopoldo Lugon

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12

Acevedo, Stefanie. "Segmentational Approaches of Atonal Music: A Study Based on a General Theory of Segmentation for Music Analysis." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1282247910.

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13

Man, Pauline. "The viola in early twentieth-century music : a performer's analysis of works by Rebecca Clarke, Paul Hindemith and Ernest Bloch /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19161.pdf.

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14

Wunch, Rebecca Lynn. "The Merger of Jazz and Twentieth Century: A Performance Analysis of Donald Matino’s A Set for Clarinet." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1196200383.

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15

Wells, Robert Allen. "David Diamond as Song Composer: A Survey of Selected Vocal Works of David Diamond With a Theoretical and Stylistic Analysis of Six Early Songs, The Midnight Meditation, and Hebrew Melodies." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163480150.

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16

Ai, Meilin. "An Introduction to Contemporary Characteristics in Twentieth-Century Piano Music for the Late-Intermediate Student: A Pedagogical Analysis of the Bagatelles, Opus 5 by Alexander Tcherepnin." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505185/.

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Alexander Tcherepnin (1899-1977) was a Russian-born American composer, his musical style represents the modern and diverse features of much twentieth-century piano music. The purpose of this research is to conduct a comprehensive pedagogical analysis of Alexander Tcherepnin's Bagatelles, Op. 5 with the goal of introducing contemporary characteristics in twentieth-century piano music for the late-intermediate student. Chapter 2 contains overall biographical information regarding Alexander Tcherepnin and a discussion of the general compositional style of his piano works. Chapter 3 analyzes the B

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17

Morrison, Becky L. "The chest voice function in the classically trained soprano| A survey of selected vocal pedagogy treatises from the seventeenth century through the twentieth century and recording analysis from 1900 to the present with discussion of the implications for the modern vocal pedagogue." Thesis, The University of Oklahoma, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590374.

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<p> The purpose of this research is to document the use of chest voice in sound recordings of sopranos from the early 1900s through the twentieth century and to survey the vocal pedagogy informing performance practice of chest voice throughout the twentieth century. The research includes a survey of the chest voice in vocal pedagogy treatises from the seventeenth century through the twentieth century, and the performance practice of singers throughout the twentieth century in regard to the use of chest voice. The research also includes recording practices as they pertain to the different tim

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Sandoval-Cisternas, Enrique. "A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA: COMPARATIVE ANALYSIS OF FORM, NOTATION, AND PERFORMANCE PRACTICE OF BARRIOS’S WORK TO TRADITIONAL CHILEAN CUECAS FROM THE BEGINNING OF THE TWENTIETH-CENTURY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/120.

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Agustin Barrios's guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Mus

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Rosa, Lilia de Oliveira 1960. "Três peças aleatórias de L. C. Vinholes numa abordagem pedagógica para criança = análise, criação de atividades musicais e site." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284919.

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Orientador: Aci Taveira Meyer<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T21:14:33Z (GMT). No. of bitstreams: 1 Rosa_LiliadeOliveira_D.pdf: 4441858 bytes, checksum: 53564442162a3cc196ba783dfe47aadc (MD5) Previous issue date: 2011<br>Resumo: O objetivo principal desta pesquisa é estudar três peças aleatórias do compositor pelotense Luiz Carlos Lessa Vinholes - Instrução 61, para quatro instrumentos quaisquer (1961); Instrução 62, para instrumentos de teclado (1962); e Peça/Pessa para fazer Psiu/Xi, para bocas (1979) - e

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20

Tissier, Brice. "Mutations esthétiques, mais continuité technique dans l’œuvre de Pierre Boulez." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040256.

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L’œuvre musicale de Pierre Boulez est l’une des œuvres majeures de la seconde moitié du vingtième siècle. Celle-ci a évolué entre 1945 et 2008 conjointement avec les écrits de Boulez, dans lesquels sa réflexion traite, successivement, les différents aspects de son langage : la théorie entre 1948 et 1963, puis l’esthétique entre 1963 et 1995.Le premier livre de cette thèse traite des évolutions esthétiques de Boulez. Les deux analyses proposées dans le second livre, consacrées aux deux groupes d’œuvres Domaines/Dialogue de l’ombre double et Anthèmes/Anthèmes 2, ont pour objectif de démontrer la

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21

Rodrigues, André de Cillo. "Três usos da citação musical no século XX: uma análise das peças Dream-Images de Crumb, Phorion de Foss e Prelúdio para piano nº1 de Willy Corrêa." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-111743/.

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Este trabalho consiste na análise de três peças que se utilizam da citação musical de maneiras distintas. Ele é, portanto, um estudo a respeito da utilização da citação musical na linguagem musical erudita e suas implicações a partir do século XX. Nossa estratégia consistiu inicialmente em definirmos melhor nosso campo de estudos por meio da observação das especificidades da citação na linguagem musical. A partir daí, são propostos três tipos de citação que serão avaliados nas três peças principais que compõe este trabalho, a citação alusiva, a citação temática, e a citação em colagens. Alguns

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22

Howard, Beverly A. (Beverly Ann). "Texture in Selected Twentieth-Century Program Music for Trumpet and Organ, A Lecture Recital, Together with Three Recitals of Selected Works of J. Alain, J.S. Bach, G. Bohm, N. Degrigny, H. Distler, M. Durufle, J. Guillou, A. Heiller, W.A. Mozart, E. Raxache, M. Reger, L. Vierne." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc330759/.

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This dissertation is concerned with the relationship between the trumpet and organ in twentieth-century music for this ensemble and how that relationship effects performance with regard to organ registration and synchronization. The compositions discussed include "The Other Voices of the Trumpet," by Daniel Pinkham (1971); "Jericho: Battle Music," by William Albright (1976); "Three Pictures of Satan," by Jere Hutcheson (1975); and "Okna," by Petr Eben (1980). The theoretical writings of Pierre Boulez, Robert Erickson, and Donald Cogan deal with developing a contemporary concept of texture. Thi

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23

Gamso, Nancy M. (Nancy Margaret). "Twentieth-Century Works for Textless Voice and Various Woodwinds with Three Recitals of Selected Works of Stamitz, Roussel, Albinoni, Weber, Milhaud, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279129/.

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The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range,

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24

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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25

Moreira, Gabriel Ferrão. "A construção da sonoridade modernista de Heitor Villa-Lobos por meio de processos harmônicos: um estudo sobre choros." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-20052014-124330/.

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Como um dos compositores mais profícuos do século XX no contexto mundial, Heitor Villa-Lobos (1887-1959) produziu uma coletânea de obras que primam pela variedade de linguagens e uso de um ecletismo que tornou-se a regra em sua obra. Entretanto, mesmo em meio a tanta pluralidade, podemos notar uma macrodivisão em sua obra que separa as obras baseadas em padrões tonais clássico-românticos em diálogo com suas apropriações da música popular urbana daquelas de experimentação e caráter modernista. Dentro do primeiro grupo temos como epítome a série Bachianas Brasileiras; do segundo, a série Choros

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26

Barrientos, Flora. "Les œuvres pour piano de Mario Ruiz Armengol." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040005.

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Le compositeur mexicain Mario Ruiz Armengol (1914-2002) a écrit plus de deux-cents œuvres pour piano d’une grande qualité. Même si son œuvre fait partie du répertoire des pianistes mexicains, a été enregistrée, publiée et a fait l’objet de trois travaux universitaires et d’une biographie, la musicologie mexicaine a négligé son œuvre. C’est pour cela que j’ai décidé de me centrer sur l’analyse musicale de ses œuvres pour piano afin de les situer dans le contexte de la musique et des compositeurs de musique de concert du XXème siècle. Dans l’introduction je souligne divers aspects biographiques,

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Oliveira, Ísis Biazioli de. "Processos composicionais no Kyrie do Réquiem de György Ligeti." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-18052015-162329/.

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Este trabalho tem por objetivo analisar os processos composicionais do Kyrie, segundo movimento do Réquiem (1963-65), de György Ligeti. Segundo seu compositor, essa peça é uma \"estranha fuga\" e, como tal, receberá durante nosso trabalho a terminologia correspondente a essa declaração. No primeiro capítulo, investigaremos a microestrutura da obra e perceberemos aí o caráter direcional das alturas do Sujeito 1, Kyrie eleison, (Cohn, 1998; Douthett & Steinbach, 1998; Lewin; 1982) e as simetrias que descrevem o Sujeito 2, Christe eleison (Weyl, 1997; McManus, 2005). No segundo capítulo, discutir

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28

Coleridge, Robert. "Music and dance in the twentieth century : issues and analyses." Thesis, University of Southampton, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427714.

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29

Kim, Sinae. "Isang Yun and the Hauptton Technique: An Analytical Study of the Second Movement from Duo für Violoncello und Harfe (1984)." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/22797.

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Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun

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Moreira, Adriana Lopes da Cunha. "Olivier Messiaen : inter-relação entre conjuntos, textura, ritimica e movimento em peças para piano." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284716.

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Orientadores: Maria Lucia Senna Machado Pascoal, Mauricy Matos Martin<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-12T13:37:16Z (GMT). No. of bitstreams: 1 Moreira_AdrianaLopesdaCunha_D.pdf: 12909119 bytes, checksum: c1054275001f99a287c35ac9a21a5138 (MD5) Previous issue date: 2008<br>Resumo: Este trabalho propõe uma associação de técnicas de análise musical desenvolvidas durante os séculos XX e XXI aos conceitos teóricos proferidos por Olivier Messiaen no livro Technique de mon langage musical (Messiaen 1944a e 1944b) e no

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31

Bruderer, Conrad David. "A study of twentieth-century violin and viola duos : including critical reviews and analyses of selected works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9839494.

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Thesis (Ph. D.--Music)--University of California, San Diego, 1998.<br>Vita. Includes a "critical review" of approx. 200 scores of violin and viola duos, with bibliographical information. Includes analyses of the following works: Divertimento op. 37 no. 2 by Ernst Toch; Three madrigals by Bohuslav Martinu; Variations op. 57 by Wallingford Riegger; Ideas and transformations no. 1 by Kenneth Gaburo; Duetto (1986) by Goffredo Petrassi; Little canonic suite (1970) by Ingolf Dahl; and Duo concertante by Paul Chihara. Includes bibliographical references (leaves 360-370). Discography: leaves 181-212.

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32

Halls, Glen C. "Compositional applications of sonority: analysis and discussion of select twentieth century works." Thesis, 1995. http://hdl.handle.net/1828/6546.

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33

"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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34

Mountain, Rosemary. "An investigation of periodicity in music, with reference to three twentieth-century compositions: Bartok's Music for trings, percussion & celesta, Lutoslawski's Concerto for orchestra, Ligeti's Chamber concerto." Thesis, 1993. https://dspace.library.uvic.ca//handle/1828/9666.

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An investigation into the nature and functions of periodicity is presented through analysis and discussion. Periodicity is established by the repetition of any musical event at regular intervals in time. The three works analyzed exhibit periodic elements in a variety of contexts and on different structural levels, thereby illustrating typical functions of periodicities in complex twentieth-century music. These functions include stratum delineation, textural definition, and metric-style organization. In some cases, the regularity of the periodicities is crucial to their function, while in other

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Bauson, Grace A. "The contribution of twentieth-century Canadian composers to the solo pedal harp repertoire, with analysis of selected works." 2012. http://liblink.bsu.edu/uhtbin/catkey/1666099.

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The purpose of this dissertation was to research harp solos written by Canadian composers in the twentieth century and to determine factors that could have contributed to the rise in output of harp literature in Canada during that period. In addition to research of existing writings, interviews with two performers, Erica Goodman and Judy Loman, and two composers, Marjan Mozetich and R. Murray Schafer, were conducted. Analysis of six selected works from 1957 to 2002, Little Suite by Robert Turner, The Crown of Ariadne by R. Murray Schafer, Fifteen Pieces for Harp by John Weinzweig, From the Eas

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Dias, Michael Gregory. "Jacques Hétu’s compositional process in Suite pour guitare, Op.41." Thesis, 2019. http://hdl.handle.net/1828/10753.

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The National Library of Canada houses 3.5 meters of textual documents related to the celebrated Quebecois composer, Jacques Hétu (1938-2010). Among the working documents and biographical material donated in 1997 to the Jacques Hétu Fonds are autograph compositional documents relating to Hétu’s Suite pour guitare, Op. 41, written in 1986 (10 folios of sketch material and the composer’s fair copy). After deciphering, transcribing, and ascertaining the chronology of the sketches, an examination of the documents yields a new understanding of Hétu’s compositional process for Op. 41 (including the d

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Tissier, Brice. "Mutations esthétiques, mais continuité technique dans l'oeuvre de Pierre Boulez." Thèse, 2011. http://hdl.handle.net/1866/6220.

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La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la bibliothèque de musique de l'Université de Montréal (http://www.bib.umontreal.ca/MU).<br>L’œuvre musicale de Pierre Boulez est l’une des œuvres majeures de la seconde moitié du vingtième siècle. Celle-ci a évolué entre 1945 et 2008 conjointement avec les écrits de Boulez, dans lesquels sa réflexion traite, successivement, les différents aspects de son langage : la théorie entre 1948 et 1963, puis l’esthétique entre 1963 et 1995. Cette évolution, les enjeux et les contours de l’œuvre musicale d

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38

Holdcroft, Z. T. (. Zillah Theresa). "String techniques, notation systems and symbols in selected 20th century string quartets." Thesis, 1999. http://hdl.handle.net/10500/16959.

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This thesis sets out to investigate new notation symbols, systems, and string techniques in some one hundred 20th century string quartets, selected from a variety of composers. The analysis includes compositions that have, through contemporary aesthetic ideals, extended musical and technical resources and stimulated the development of compositional methods in such a way as to influence later works in the genre. k The thesis divided into two parts : Histoiy and Research Part One is a brief history of 20th century music, and includes the development o f the string quartet from earliest t

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Korvink, Olga. "Analysis of two solo violin works by Hendrik Hofmeyr." Diss., 2006. http://hdl.handle.net/2263/31498.

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In this dissertation two solo violin compositions Nelle Mani d’Amduscias (1996) and Luamerava(2000) by the South African composer Hendrik Hofmeyr are analysed regarding the programmatic, compositional and idiomatic content. The Luamerava uses an adapted African legend that is inscribed at the beginning and according to the composer imitates the African mbira or finger piano. The Eurocentric Nelle Mani d’Amduscias is Italian for “into the hands of the (medieval) devil”. Both pieces are analysed under the headings form, melody and motives, rhythm, harmonies and violinistic aspects, always connec

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