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 others the periodicity of the elements simply provides a convenient model for study. Reference is made to perceptual tendencies and thresholds including Gestalt principles of grouping, the phenomena of auditory streaming and fusion, and the temporal limits of the perceptual present. As our response to periodicities is affected by the specific rate of recurrence, a classification is made according to the rate of recurrence. The links between rate and function are discussed. Boundaries are suggested for three main divisions: very fast rates (less than 0.10"), medium (between 0.10" and 10"), and long (greater than 10"). An additional tripartite division of the medium range is proposed, incorporating the levels of pulse, sub-pulse, and super-pulse. The term "super-pulse" is introduced to emphasize the potency of the pulse-grouping level. Relationships between levels of periodic events are described in terms of rhythmic consonance and dissonance. The analyses show that a contrast in the degree of rhythmic consonance is a typical means of indicating structural boundaries. They also suggest a link between the levels which produce a dissonance and the degree of harshness felt. Consonance on several levels adds significant coherence to a stratum, enhancing its recognition in complex textures or on later appearances. / Graduate

No abstract available. / Dissertation (MMus (Performing Art))--University of Pretoria, 2006. / Music / unrestricted

A study of selected chance and indeterminate piano pieces was made with a two-fold purpose: (1) to provide an intermediate stage between the composition and performance of the selected works and (2) to illustrate the diverse ways spontaneity may be invoked. The investigation centered on three points: (1) the problems the performer might encounter in examining the pieces, (2) implications of the instructions and (3) possible realizations of the score. While each score examined showed a slightly different approach to chance or indeterminacy, the pieces within the two categories were seen to exhibit common features. Generalizations were made in three broad areas: (1) the instructions in the scores, (2) the notation and (3) possible solutions. The instructions in the indeterminate scores were found to be relatively straightforward; the performer is made aware of his choices or alternatives and manner of performance is discussed. Instructions in chance works are less explicit; the performer is not directed to any one solution. Some explanation of the notation is given and the performer is led to discover how extensive his freedoms are. Indeterminate works on the whole are found to use traditional notation. The notation may be altered in some way, but retains a resemblance to its traditional source. Chance notation is very diverse, but three general categories exist: (1) works using traditional notation, (2) works using traditional and non-traditional (graphic) notation and (3) works using only graphic notation. The possible solutions of indeterminate works are concerned with either the juxtaposition or the metric relationship of material. The degree to which the choices are guided varies in the works discussed. Possible solutions of the chance works involve interpretation of notation and various ideas presented in the instructions. The performer must respond in an individual way, drawing on his own ideas. In general, analyses of the works illustrated some features that might be expected in other chance and indeterminate works. / Arts, Faculty of / Music, School of / Graduate

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