No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

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 analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.

This study is concerned with the examination of choral symphonies by major nineteenth-century composers. Its purpose is to delineate the common characteristics which these works have. Emphasis is given to the investigation of the choral elements in the symphonies. Detailed musicological studies of nineteenth-century music are minimal; there has. been a particular lack of interest in nineteenth-century works for chorus. Therefore, the principal sources of data for this study were the full scores of the following nine symphonies: Beethoven's Symphony No. 9, Berlioz' Romeo and Juliet and the Funeral and Triumphal Symphony, Mendelssohn's Lobgesang, Liszt's Faust Symphony and Dante Syrmphony, and Mahler's Symphonies Nos. 2., 3, and 8. Other important sources included major biographies of the composers of the symphonies listed. chapter is devoted to each of these composers, subdivided as follows: a general survey of the composer's other works for chorus and/or orchestra; the historical facts connected with the composition and first performance of the individual symphonies; analysis; and conclusions.

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. / 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 another. Transformation of the sound material is accomplished by means of digital signal processing and, in the instrumental parts, by way of compositional techniques modeled after specific electroacoustic sound processing techniques. / The organization of musical structures and formal processes was informed by certain characteristics associated with devices that handle information represented digitally, by techniques of electroacoustic sound production and transformation, and by particular extended instrumental techniques. / Volume 1 of this dissertation is a written text articulated in two parts. The first part gives a historical and aesthetical context for my composition. The second part is an analysis of materials and formal processes used in the piece. Volume 2 is the music score of the composition. A CD containing the patches and soundfiles utilized in the electronic part supplements both volumes.* / *This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.