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1	Organ Compositions on the Motive B A C H Stegall, Ruth Ellen 08 1900 (has links) Since the time of Johann Sebastian Bach many musical compositions have been written on the letters of his last name. In German musical notation, these letters are the equivalents of out B flat, A, C, and B natural. This study traces the use of this motive in works written for the organ throughout the past two centuries. The discussion in these chapters has been an attempt to illustrate the use of the motive B A C H in organ compositions from before the time of Bach up to the present. Time limitations required that this study limit itself to those works appearing in generally available editions. organ music BACH motive music history Organ music.
2	The Twentieth-century Canon: An Analysis of Luigi Dallapiccola's Canonic Works from his 'Quaderno musicale di Annalibera' Ravensbergen, Jacqueline 10 August 2012 (has links) The compositional technique of cross partitioning is one of Luigi Dallapiccola's most used twelve-tone devices. Through a detailed analysis of three contrapuntal canonic movements from Dallapiccola's Quaderno Musicale di Annalibera, I examine his use of cross partitioning as a motivic tool and as a referential collection. The development of the BACH motive and the derivation of tone-row statements reflects on Dallapiccola's extensive use of cross partitioning and his compositional principles used to achieve a sense of polarity. Upon a preliminary analysis based on set-theory analysis set out by Joseph Straus I draw an interpretive analysis through Alegant's cross partitioning model as well as develop my own set of parameters for interpretation in regards to polarity which is based on intervallic stability. Luigi Dallapiccola Quaderno Musicale di Annalibera twelve-tone polarity centricity cross partition Brian Alegant set-theory Joseph Straus canon BACH motive
3	The Twentieth-century Canon: An Analysis of Luigi Dallapiccola's Canonic Works from his 'Quaderno musicale di Annalibera' Ravensbergen, Jacqueline 10 August 2012 (has links) The compositional technique of cross partitioning is one of Luigi Dallapiccola's most used twelve-tone devices. Through a detailed analysis of three contrapuntal canonic movements from Dallapiccola's Quaderno Musicale di Annalibera, I examine his use of cross partitioning as a motivic tool and as a referential collection. The development of the BACH motive and the derivation of tone-row statements reflects on Dallapiccola's extensive use of cross partitioning and his compositional principles used to achieve a sense of polarity. Upon a preliminary analysis based on set-theory analysis set out by Joseph Straus I draw an interpretive analysis through Alegant's cross partitioning model as well as develop my own set of parameters for interpretation in regards to polarity which is based on intervallic stability. Luigi Dallapiccola Quaderno Musicale di Annalibera twelve-tone polarity centricity cross partition Brian Alegant set-theory Joseph Straus canon BACH motive
4	The Twentieth-century Canon: An Analysis of Luigi Dallapiccola's Canonic Works from his 'Quaderno musicale di Annalibera' Ravensbergen, Jacqueline January 2012 (has links) The compositional technique of cross partitioning is one of Luigi Dallapiccola's most used twelve-tone devices. Through a detailed analysis of three contrapuntal canonic movements from Dallapiccola's Quaderno Musicale di Annalibera, I examine his use of cross partitioning as a motivic tool and as a referential collection. The development of the BACH motive and the derivation of tone-row statements reflects on Dallapiccola's extensive use of cross partitioning and his compositional principles used to achieve a sense of polarity. Upon a preliminary analysis based on set-theory analysis set out by Joseph Straus I draw an interpretive analysis through Alegant's cross partitioning model as well as develop my own set of parameters for interpretation in regards to polarity which is based on intervallic stability. Luigi Dallapiccola Quaderno Musicale di Annalibera twelve-tone polarity centricity cross partition Brian Alegant set-theory Joseph Straus canon BACH motive

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