• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 11
  • 10
  • 8
  • 4
  • 1
  • 1
  • Tagged with
  • 38
  • 32
  • 17
  • 9
  • 6
  • 5
  • 4
  • 4
  • 4
  • 4
  • 4
  • 4
  • 3
  • 3
  • 3
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
31

Funktion und Farbe Klang und Instrumentation in ausgewählten Kompositionen der zweiten Hälfte des 20. Jahrhunderts: Lachenmann, Boulez, Ligeti, Grisey /

Vlitakis, Emmanouil. January 2008 (has links)
Originally presented as the author's thesis (doctoral--Technische Universität, Berlin). / Includes bibliographical references (p. 235-327).
32

Peter Schat's Tone Clock: The Steering Function and Pitch-Class Set Transformation in Genen

Fernandez Ibarz, Erik January 2015 (has links)
Dutch composer Peter Schat’s (1935-2003) pursuit of a compositional system that could generate and preserve intervallic relationships, while allowing the composer as much flexibility as possible to manipulate musical material, led him to develop the tone-clock system. Fundamentally comprised of the twelve possible trichords, the tone clock permits each to generate a complete twelve-tone series through the “steering” principle, a concept traced to Boulez’s technique of pitch-class set multiplication. This study serves as an overview of Schat’s tone-clock system and focuses primarily on the effects of the steering function in “Genen” (2000). Furthermore, I expand on the tone-clock system by combining transformational theory with Julian Hook’s uniform triadic transformations and my proposed STEER and STEERS functions, which express the procedures of the steering principle as a mathematical formula. Using a series of transformational networks, I illustrate the unifying effect steering has on different structural levels in “Genen,” a post-tonal composition.
33

Interactive Networks in Forgotten Lyres: Critical Analysis and Original Composition

Harenda, Timothy 08 1900 (has links)
Forgotten Lyres is a musical response to Percy Bysshe Shelley's poem Mutability, which depicts the fragility and unpredictable nature of human life. Four independent chamber ensembles make up the performing forces of Forgotten Lyres; the musicians evoke the topics of Shelley's text as they interact and coordinate with one another according to a variety of paradigms and without the use of a conductor. This essay focuses on the approaches to coordination within and between ensembles, and the ways in which the musicians' interactions can evoke and convey Shelley's texts. The essay also examines works by Mel Powell, Toru Takemitsu, Witold Lutoslawski, and Pierre Boulez as examples and precursors for the coordination strategies employed in Forgotten Lyres.
34

The Musical Piece as an Instance : essays in Computer-Aided Musical Analysis / La partition musicale comme un cas : essais d'analyse musicale assistée par ordinateur

De Paiva Santana, Charles 06 December 2016 (has links)
A partir d'une interprétation musicologique de la notion scientifique de "modélisation et simulation'', cette thèse présente une approche d'analyse assistée par ordinateur où les partitions musicales sont reconstruites à partir de processus algorithmiques et simulées avec différents paramètres à partir desquels des variantes, appelés instances, sont générés. L'étude d'une pièce musicale par modélisation et simulation signifie comprendre l'oeuvre en la (re) composant de nouveau, en brouillant les limites entre le travail analytique et créatif. Cette approche est appliquée à trois études de cas: 1. une technique isolée, la "multiplication d'accords'', utilisé par Pierre Boulez (1925- 2016), qui a été explorée à travers le prisme formé par les théories de H. Hanson, S. Heinemann et L. Koblyakov; 2. La pièce "Spectral Canon pour Conlon Nancarrow" (1974) du compositeur américain James Tenney (1934-2006) à laquelle la simulation computationnelle à partir de différents paramètres a été prise à ses conséquences ultimes quand un "espace d'instances" est explorée a partir de stratégies de visualisation graphique; 3. Et enfin "Désordre" (1985), le première étude pour piano de l'austro-hongrois György Ligeti (1923-2006) dans laquelle les concepts de "tonalité combinatoire" et "décomposition en nombres premiers'', appliqué aux durées, ont été utilisés pour maximiser le potentiel de production d'instances. / From a musicological interpretation of the scientific notion of “modeling and simulation”, this thesis presents an approach for computer-aided analysis where musical scores are reconstructed from algorithmic processes and then simulated with different sets of parameters from which neighbouring variants, called instances, are generated. Studying a musical piece by modelling and simulation means to understand the work by (re)composing it again, blurring boundaries between analytical and creative work. This approach is applied to three case studies: an isolated technique, Pierre Boulez Chord Multiplication, which is explored through the prism formed by the theories of H. Hanson, S. Heinemann and L. Koblyakov; the piece Spectral Canon for Conlon Nancarrow (1974) by the american James Tenney (1934-2006) to which the computational simulation from different sets of parameters was taken to its ultimate consequences when a “space of instances” is created and strategies of visualisation and exploration are devised; and finally “Disorder”, the first piano study written by austro-hungarian György Ligeti in which the concepts of “combinatorial tonality” and “decomposition prime numbers”, applied to durations, are used to maximize the potential that a model has to produce different variations of the original piece.
35

Demons of Analogy: The Encounter Between Music and Language After Mallarmé

Reinier, Joshua Tasman Girardeau 09 November 2022 (has links)
No description available.
36

Der Modernismus in den Schriften Pierre Boulez', 1948–1952

Farolfi, Manuel 23 October 2023 (has links)
No description available.
37

A survey of contemporary flute solo literature with analyses of representative compositions

Mellott, George K., January 1964 (has links)
Thesis (Ph. D.)--State University of Iowa, 1964. / Includes bibliographical references (leaves 373-380).
38

»Was fehlt?« – Desiderate und Defizite musiktheoretischer Forschung und Lehre: 4. Jahreskongress der Deutschen Gesellschaft für Musiktheorie, Köln 2004

Rohringer, Stefan 17 September 2023 (has links)
No description available.

Page generated in 0.0591 seconds