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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 12 lutego 2022

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1

李德芬 and Daphne Lee. "The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.

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2

Lucas, James Edward. "Score and analysis of the International Suite for Two Pianos and Orchestra /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.

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3

Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this

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4

Hughes, John Charles. "Leonhard Lechner's Passion (1593): cultural contexts, musical analysis, and historical implications." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1469.

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The Historia der Passion und Leidens unsers einigen Erlösers und Seligmachers Jesu Christi (1593) by Leonhard Lechner (c. 1553-1606) is frequently cited as an important work in the development of the Passion idiom. Given the work's notoriety, it is therefore odd that little substantive analysis of the piece exists. Aside from some scholars' cursory comments about the piece, only James Morgan Sides's dissertation has discussed the work at length. Sides's findings give a somewhat limited picture of Lechner's Passion because he primarily focuses on technical aspects of Lechner's musical language.

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5

Wong, Hock-wei Wendy, and 黃學慧. "Containing the German within: the unpublishedpiano works of Dohnanyi Erno." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37366889.

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6

Chan, Chor-shan Sharon, and 陳楚珊. "Neither here nor there: the dramatic tension between the spoken word and music performance in Igor Stravinsky'sOedipus rex (1927)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199540.

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Stravinsky’s opera-oratorio Oedipus Rex was based on Sophocles’ classic tragedy Oedipus Tyrannus. Jean Cocteau wrote the libretto for Stravinsky in French, the text was then translated into Latin. Le speaker speaking in the audience’s native language with a detached voice is added to the opera-oratorio to narrate the events of the story throughout. With its mixed genres, the juxtaposition of the dead language and the vernacular, the contrast of the spoken word and the music performance, and the intertexual references in the music, a strong dialectical tension is created. This study is

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7

Johnson, Stephen. "Hecate nocturne : for large orchestra." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99173.

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With Hecate Nocturne, I set out to create a unified piece of substantial length. The piece features certain sounds of British Columbia---birds, animals, wind, water, machinery, and folksong; their musical depictions represent a growing interest of mine, one which was expanded significantly in this piece.<br>The primary goal of the thesis is a close interconnection of all musical material, at all levels; that a limited pool of material could produce, through motivic development, all the components of the piece, from small to large. The secondary goal is to give the music a "sense of place" thro

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8

Ross, Gordon. "Popular music analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.

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9

Von, Holtzendorff Peter. "A parametric integration model for the analysis of late Baroque music : a tentative approach." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20185.

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In four pieces selected from the late Baroque repertoire, the "Allemanda" from Corelli's Sonata for Violin and Continuo, Opus 5, No. 8, the "Allemande" from Bach's Clavierubung, Partita, No. 1, the chorus, "Thy Right Hand, Oh Lord" from Handel's Israel in Egypt, and the aria duetto, "Mein Freund ist Mein" from Cantata No. 140, Wachet Auf, by Bach, harmonic, melodic and motivic parameters are analysed and graphed so that their integration in each work is readily observable. Then, in an attempt to establish more general formal models similar to those developed by Arnold Schoenberg, Erwin Ratz, a

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10

Wolf, Motje. "The appreciation of electroacoustic music : an empirical study with inexperienced listeners." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/8680.

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The research contained within this PhD project forms part of the Pedagogical ElectroAcoustic Resource Site project of the Music, Technology and Innovation Research Centre of De Montfort University Leicester. This thesis contributes to current research in music education and musicology related to electroacoustic music. The purpose of this research was to investigate the influence of teaching on the change in inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to introduce electroacoustic music to 11 to 14 year old students (Key Stage 3). The curriculum was

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11

Lessoil-Daelman, Marcelle. "Une approche synoptique des motifs et des modules dans la messe parodique /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82914.

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This dissertation develops a synoptic approach to the systematic identification and comparison of the distribution of material from the model in the Kyrie and in the Credo of six parody masses of Palestrina, Lassus and de Monte, published between 1570 and 1600. These masses are grouped in pairs and each pair is based on a different model. Knowing that the compositional approaches to parody vary from one composer to one another, the objectives of this research are as follows: (1) comparison of the parodic approach of two composers in masses based on the same model; (2) comparison of pair

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12

Fromm, Mark Stanley. "Acheron, river of woe : for wind symphony." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99559.

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Acheron, River of Woe is a large-scale piece for wind symphony accompanied by an analytical thesis. It is a single-movement programmatic piece lasting twelve minutes scored for a wind symphony consisting of three flutes (one doubling piccolo), two oboes, English horn, two bassoons, contrabassoon, E-flat clarinet, three B-flat clarinets, A clarinet, bass clarinet, contrabass clarinet, four saxophones, four trumpets, four horns, two trombones, bass trombone, euphonium, tuba, string bass, timpani, and three percussionists. This piece represents a journey on the River Acheron, inspired by quotatio

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13

Chang, Yuli 1982. "Poetic afterthought : seven pieces for orchestra." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112610.

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Poetic Afterthought is an original music composition for orchestra (2-2-2-2 / 4-2-2-1 / timp-perc / piano-harp / strings). The work comprises a cycle of seven orchestral pieces inspired by seven Chinese Classical poems. The seven orchestral pieces attempt to capture the moods and impressions of the poems while carrying hints of the original structures of the poetry as if the music speaks poetry itself.

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14

Groven, Marielle 1984. "The ghost in the machine /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116133.

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The Ghost in the Machine is a piece of music far large wind ensemble. This piece is concerned with the interrelationship between the perception of time passing in music and the level of perceived density of musical activity. Specifically, the piece is designed according to the notion that the higher the level of musical activity within smaller intervals of time, the higher the perceived level of density. The piece consists of a large-scale density envelope that spans the length of the entire piece, wherein the level of density increases gradually towards and decreases away from the climax poin

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15

García, de la Torre Mauricio 1976. "Cachalote." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116134.

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Cachalote is a work for 17 musicians inspired by the study of social behavioral patterns in sperm whales. The distinctive series of clicks produced by these mammals, known as "codas," are their primary means of communication. These patterns manifest in Cachalote as a series of "sound objects", whose specific arrangement symbolizes communication, and underlines the musical discourse. The sound of field recordings provided further inspiration for the music's texture and orchestration. The composer's creation of an extra-musical narrative related to the lifecycle of sperm whales determines the ap

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16

Britton, Eliot. "Codecs." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116135.

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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of Codecs. The second volume is the score of this work. Volume one is divided into six sections: Introduction, harmony, rhythm and time, melodic materials, form, live electronics and future directions. Each section describes techniques and processes I developed throughout the compositional process.<br>Codecs was inspired by the subversive proliferation musical materials though the use of audio codecs. I developed compositional tools based on encryption and comp

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17

O'Neal, Thomas John. "Timbre as a compositional device in selected band repertoire since 1950." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186166.

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Since 1950, wind band repertoire has experienced accelerated change and growth. There has been a shift from orchestral transcriptions, in which wind instruments frequently have been used formulaically, to original compositions for wind band that explore new timbre possibilities. This study analyzes selected band pieces composed since 1950, paying particular attention to the use of timbre. Specific developments that are discussed, in addition to the change in band instrumentation, are the new emphasis on percussion, and the exploration of new instrument combinations and their resulting timbres.

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18

Liu, Lai Ying. "Description as a transmedial mode of representation and its potential in instrumental music explored through a study of musical work inspired by paintings." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/77.

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Among various forms of art, music (and instrumental music in particular) is said to be the least descriptive art form, owing to its limitation with respect to hetero- referentiality--the ability to refer to things outside itself. However, in view of the impreciseness current in the definition of musical description itself, as well as a lack of case studies in understanding the modes of representation of descriptive music, there remain some questions about the fundamental nature and the potential of music as a medium of description. These questions will be raised and explored in this dissertati

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19

Telesco, Paula Jean. "A HARMONIC ANALYSIS OF SELECTED PIANO MUSIC OF EMMANUEL CHABRIER." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275317.

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20

Adamcyk, David. "Balbuzard : for solo clarinet, wind symphony and electronics." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111504.

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Balbuzard is a musical composition of approximately twelve minutes in length, scored for solo clarinet, wind symphony and electronics. It focuses on cluster-like sound masses and explores ways of using these to give the music a clear sense of direction. To this end, tools were developed using a variety of computer applications or programming languages, such as Lisp, OpenMusic and Cubase. These tools made possible a kind of graphic composition where diagrams of different shapes were entered into a computer interface and converted into source material. The generated source material consisted of

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21

Sherman-Ishayek, Norma Lillian. "Closing gestures in opening ideas : strategies for beginning and ending in classical instrumental music." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60092.

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This paper studies the formal ambiguity that arises when a closing gesture occupies a beginning location in the instrumental works of Haydn, Mozart, and Beethoven. Accordingly, I am interested in those formal areas within a piece that are concerned with the functions of either "beginning" or "ending."<br>I first present a systematic survey of the theoretical principles underlying the formal functions of beginning and ending in this style. I then show some specific examples of typical cadences and of initial units that imitate them. Next, I focus on the "main theme," observing how the function

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22

Budón, Osvaldo 1965. "Alrededor de una música auscente." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84687.

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Alrededor de una musica ausente is an 18-minutes long composition, written for three Instrumental Groups (Group I: two trombones; Group II: four flutes; Group III: strings [6 0 3 2 1]) and three computer-based Digital Signal Processing Stations, positioned in the performance space so as to form a circle around the audience.<br>Instrumental Groups and DSP Stations establish a relationship of outputs to inputs with respect to each other. Throughout the composition, sound material is gradually transformed as it flows from one Instrumental Group or Digital Signal Processing Station to anoth

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23

Christensen, Justin. "Tourniquet mirage." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83162.

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Tourniquet Mirage, a piece for orchestra and processed sound, is based on the recitation of a poem of the same name. Recitations are recorded and altered electronically through granulation and phase vocoding. Granular synthesis cuts audio up into "short sound grains" and combines them into a sequence of grains to form a longer final output. Phase vocoding uses Fourier analysis to analyze audio and represent it as a series of amplitudes, phases, and frequencies. The phase vocoder then uses this information to manipulate the audio without altering the overall structure of the waveform.<br

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24

Walker, William J. (William Jared). "The Fantasias of John Dowland: An Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500694/.

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In spite of an increasing interest in the analysis of Renaissance music by contemporary theorists, few analyses of lute music exist. It is hoped that this thesis will serve to open a new area of analysis to scholars of Renaissance music. Chapter I deals with the background information necessary for the analysis, including Dowland's biography, lute history, technique, and notation, and the practice of modality on the lute. An overview of Dowland's music, especially the solo lute music, ends the chapter. Chapter II traces the form and development of the fantasia and surveys Dowland's seven fanta

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25

Dicus, Kent Timothy 1958. "A stylistic analysis of selected piano works of Louis Moreau Gottschalk." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276718.

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Although Louis Moreau Gottschalk's works are not generally recognized as being exceptionally significant in the development of musical style, they do serve as a link between the music of Frederic Chopin and that of Charles Ives. Certain stylistic characteristics of Chopin are seen in many of Gottschalk's works, especially those which incorporate "Scherzo" and "Mazurka" passages. Simultaneously, Gottschalk's concept of using popular tunes as prominent melodies and themes was later expanded by Charles Ives. Gottschalk's works include some of America's first experimentations with form through uti

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26

Murdock, Matthew C. "Sidewinder syndrome : improvisational vocabulary and construction of Richard "Blue" Mitchell and Lee Morgan." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1364934.

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During the mid 1960s, record producers and jazz critics coined the phrase Sidewinder Syndrome to describe the funky style of music popularized through the success of Lee Morgan's solo release of "Sidewinder. The funky style, rooted in the heart of the hard bop period (1955-1965), united jazz, Latin influences, and popular black traditions such as gospel and urban blues. Lee Morgan (1938-1973), composer of "Sidewinder," and Richard "Blue" Mitchell (1930-1979) were two prolific trumpet artists from this time period who embraced the Sidewinder Syndrome, and as a result provided a rich improvisati

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27

Simon, Karem Joseph. "Historical and performance perspectives of clarinet material performed in a thesis recital." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26038.

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This document is designed to accompany the writer's Lecture-Recital performed on June 6, 1983. It presents all the material from the lecture in a more detailed and extensive account. A discussion of clarinet solo material, representative of four periods and/or styles in the development of the clarinet repertoire, is featured: an unaccompanied twentieth-century work, Heinrich Sutermeister's Capriccio; an early classical concerto, Karl Stamitz's Concerto in E-flat Major; a French Conservatory Contest Piece, Charles Lefebvre's Fantaisie-Caprice; and a late romantic sonata, Johannes Brahms' Sona

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28

Nakagawa, Eri. "A stylistic analysis of the piano trios of Saint-Sa�ens and Ravel." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1063301.

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Both Camille Saint-Saens (1835-1921) and Maurice Ravel (1875-1837) were outstanding composers of the late nineteenth century and the early twentieth century who followed and transmitted the specifically French tradition. Ravel studied at the Paris Conservatoire with Gabriel Faure (1845-1924), who was a student of Saint-Satins. SaintSaens's Trio No. 1, Op. 18, was written in 1863, while he was teaching a the Ecole Niedermeyer. As one of the earliest works by the composer, it reveals his conservative style in the well-defined four-movement structure, particularly characterized by classical perio

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29

Clavere, Javier. "Semiotic Analysis of Osvaldo Golijov’s Musical Setting of the Passion Narrative in La Pasión según San Marcos." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1227221958.

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30

Stiles, Mary. "The art of light : a reflection on a piece for orchestra." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq48230.pdf.

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31

Adler, Ayal. "Crystallisation : for a large orchestra." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85219.

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This essay presents an analysis of Crystallisation, a composition for a large orchestra. The work consists of a single movement, with a duration of approximately 15 minutes.<br>The analysis focuses mainly on formal structure, pitch organization, texture and rhythm. Some of the main topics are: large-scale form and subdivisions of each section, thematic interrelations of the sections, central pitches, pitch collections, chord structure and interrelations between texture and rhythm.<br>Throughout the course of the work, the music closely follows an overall process of searching for a valid struct

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32

Shin, Minna Re 1969. "New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.

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The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositi

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33

Maluf, Shireen. "Paths not taken : structural-harmonic ambiguities in selected Brahms Intermezzi." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23342.

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One of the remarkable features of Brahm's B-flat major Intermezzo for piano, Op. 76, no. 4 is the ambiguity of its tonal definition. The work disclosed a contrapuntal tension between its fundamental structural-harmonic organization, which is based on an incomplete harmonic progression (V7-I), and its more remote intermediary tonal areas, which Brahms implies throughout the Intermezzo but to which he never wholly commits.<br>The aim of this investigation is to illustrate how tonal ambiguity is achieved though recurrent "incompletions" of the expected (or at least the more likely) harmonic progr

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34

De, Médicis François. "La spécificité des structures thématiques à retour dans l'œuvre instrumental de Brahms /." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34943.

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This dissertation develops an analytical model for studying the specific nature of "themes of return" in the instrumental music of Brahms. Such a formal type, whose most familiar examples are the period and the small ternary, is distinguished by the presence of a "return," that is, the restatement, after intervening material, of its initiating material, which performs the same function as it did in its first appearance.<br>Brahms' return structures are analyzed according to four parameters: cadence, return, phraseology (which combines aspects of grouping, accentuation and rhythmic activity) an

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35

Lima, Manuel Pessôa de. "Perspectivas analíticas : reflexões sobre análise musical no contexto da Sagração da Primavera." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284374.

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Orientador: Silvio Ferraz Mello Filho<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-20T19:38:53Z (GMT). No. of bitstreams: 1 Lima_ManuelPessoade_M.pdf: 26916491 bytes, checksum: 26f84d2887abfe617d44b304132f04bd (MD5) Previous issue date: 2012<br>Resumo: A presente dissertação parte de artigos reunidos de diversos autores, sob o título Rethinking Music1, juntamente com diversos textos do etnomusicólogo John Blacking, para apontar problemáticas da análise musical, tomando como exemplo a obra Sagração da Primavera<br>Abs

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36

Middleton, Neil 1977. "Fading points." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81476.

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Fading Points is a piece of music for large wind ensemble. The work is concerned with time perception and is designed to convey to the listener a long temporal progression from slow music to fast music. To this end, the work is written using musical gestures specifically designed for their portrayal of musical time. The work consists of four sections, each of which is described in detail in the analytical part of the thesis. The analysis also describes the rhythmic language, which is created around short rhythmic cells. These cells are based on ratios and are used in all levels of the p

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Powers, Ollie D. "Interactions between composers and technology in the first decades of electronic music, 1948-1968." Virtual Press, 1997. http://liblink.bsu.edu/uhtbin/catkey/1056145.

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New electronic technologies began to appear after 1948 that seemed to promise the infinite expansion of sonic possibilities in music. The ability to record and manipulate existing sounds (as in musique concrete), and to generate new, unknown timbres with electronic generators (as in elektronische musik), provided an extraordinary multiplication of musical resources.Much literature of the period extols the new possibilities offered by electronic music, but the limitations of the technology of the 1950s and 1960s and the interactions that occurred between composers and that technology have been

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38

Holbrook, Geoffrey. "Sets and senses : a work for symphony orchestra accompanied by an analysis : a hierarchy of scienceart interactions." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99174.

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Sets and the Senses is a work for symphony orchestra that bears the interaction between science and art as its overriding theme. Formalizations of compositional parameters that relate to this interaction are established, in particular those relating to the contrast between systematic and intuitively composed music, in order to provide a vehicle for musical communication on the theme. A summary of scientific and artistic elements of the compositional process reveals in the work an ingrained hierarchy of science/art interactions. Specific strategies for manipulating the science/art parameters ar

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Sweeney, Mark Richard. "The aesthetics of videogame music." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.

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The videogame now occupies a unique territory in contemporary culture that offers a new perspective on conceptions of high and low art. While the fear that the majority of videogames 'pacify' their audience in an Adornian "culture industry" is not without justification, its reductionism can be countered by a recognition of the diversity and aesthetic potential of the medium. This has been proposed by sociologist, Graeme Kirkpatrick, although without close attention to the role of music. Videogame music often operates in similar ways to music in other mixed-media scenarios, such as film, or ope

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Lee, Margaret Jackson. "A critical analysis of selected piano works by Hubert du Plessis." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002310.

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This study concentrates on the piano music of Hubert du Plessis, a South African composer who, apart from some years spent studying in England, has lived and worked in this country. He was born in 1922 on a farm in the Malmesbury district. After completing his schooling, he studied at the University of Stellenbosch , gaining a B A degree. Later, he continued his studies at Rhodes University, obtaining a B Mus degree. The Performing Right Society's scholarship gave him the opportunity of studying in London for three years (1951-1953). After his return, he became involved in the academic sphere,

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Frackenpohl, David J. (David John). "Analysis of Nocturnal op. 70 by Benjamin Britten." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500442/.

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Nocturnal op. 70 is one of the most important large-scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of compression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the intervallic character of the work, iden

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Thompson, Jonathan (Oboist). "Crystal Clear: A Performance Guide and Electronic Accompaniment of Mario Lavista's Marsias for Oboe and Crystal Glasses." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538800/.

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Mario Lavista (b. 1943) is a dominant figure in Mexican classical music. In the second half of the twentieth century, he promoted the use of contemporary techniques, leading to a series of collaborations with expert instrumentalists to explore extended techniques. Marsias for Oboe and Crystal Glasses is one of those pieces. Due to the nature of contemporary techniques, different oboes and reed styles produce different effects with the same fingerings. This document analyzes the contemporary fingerings in the two published editions of the work in consideration of the long-scrape reed style and

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Dougherty, William Patrick. "An Examination of Semiotics in Musical Analysis: The Neapolitan Complex in Beethoven's Op.131." The Ohio State University, 1985. http://catalog.hathitrust.org/api/volumes/oclc/23645007.html.

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Tucker, Wallace E. (Wallace Edward). "The Solo Tenor Trombone Works of Gordon Jacob: A Lecture Recital, Together with Three Recitals of Selected Works by L. Bassett, W. Hartley, B. Blacher, E. Bloch, D. White, F. David, G. Wagenseil, J. Casterede, L. Larson, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330731/.

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The three recitals consisted of performances of original eighteenth, nineteenth and twentieth century solo works for trombone with the exception of Lyric Suite for Euphonium and Piano by Donald White, Divertimento for Trumpet, Trombone and Piano by Boris Blacher, and Dialogue and Dance for Trombone and Tuba by Newel Kay Brown. The premiere performance of Straight As An Arrow for B-flat-F Trombone and Prepared Tape by Ronn Cox and Dean Crocker was also included. After presenting a brief biography and discussing Gordon Jacob's (1895-1984) stylistic influences, the lecture continues with a Tonal,

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Bain, Jennifer 1967. "Selected antiphons of Hildegard von Bingen : notation and structural design." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23206.

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The musical structure of Hildegard von Bingen's "O quam mirabilis est" is directly linked to its notational system. After placing Hildegards's antiphons within an historical context in chapter one, chapter two reviews three previous analyses of "O quam mirabilis est" by Bronarski (1922), Cogan (1990) and Pfau (1990). The first two analyses ignore the syntax and expression of the text by focusing on the motivic level. The third analysis, though it embraces the text, lacks a formalization in its theoretical model. None of the analyses respond to the original notation. In response, chapter three

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Sudol, Jacob David. "Time fixtures." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101832.

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Time Fixtures, a composition for chamber ensemble and electronics, attempts to provide some compelling perspectives on fixing a conception of time. The electronics feature six speakers placed symmetrically around the audience that broadcast live electronic transformations and pre-constructed audio files. The ensemble consists of eleven players: flute (doubling alto flute), oboe, B♭ clarinet (doubling bass clarinet), horn, percussion, harp, piano, MIDI keyboard (doubling crotale/tangkas placed out of sight of the audience), violin, viola, and violoncello. Performance also requires a conductor a

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Tan, Anthony. "--then time killed the wind-- : for percussion quartet and live electronics." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116055.

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...then time killed the wind... is an original musical composition scored for percussion quartet and electronics with a duration of fourteen minutes. This work explores metaphorical relationships between biological processes and musical processes. The primary constructive element in the work is a rhythmic language based upon the assignment of rhythmic cells to genetic sequences. Furthermore, biological models such as inverted repeats, zeitgeber, 2-D representations of DNA and cross-breeding were applied to musical parameters such as form, pitch, harmony and live electronics.

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Townsend, Jacqueline. "The Renaissance of the American Symphony for Wind Band as Exemplified by the Recent Symphonies of Donald Grantham, David Dzubay, James Stephenson, and Kevin Walczyk." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157549/.

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Since the 18th century, composers have utilized the symphony to communicate thoughts and ideas through the vehicle of a large ensemble composed of a variety of instrumental colors. Though the structure of the symphony has understandably been subject to the varied interpretations of composers over the past 300 years, several characteristics of the traditional symphony do seem to have stood the test of time. In this document, the recent developments of the American symphony for wind band is discussed, focusing on the ways in which recent works both adhere to and divert from the traditional under

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Laurier-Cromp, Méliane 1983. "L'identité culturelle dans "Montreal", d'Ariane Moffatt : une analyse musicale sémiologique." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116006.

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The song " Montreal ", by Ariane Moffatt, has achieved a great success in the Summer of 2006. This thesis scrutinizes the causes of this popularity. After a review of the diverse existing methods in popular music research, three modes of analysis are presented. First, the study shown here describes the song through a music-theoretical approach; it observes the rules governing the voice, the melody, the rhythm, the phrases, the bass, the tonality, the chords, and the instruments used, supported by a precise transcription of the song. Then, this paper studies the musical codes that are found in

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Kiatvongcharoen, Usa. "Analytical approaches to three of Debussy's preludes for piano." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20665635.

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