This project consists of a theological exploration of unity, both divine and created, through an engagement with the writings of the composer Arnold Schoenberg (1874- 1951). It proceeds by examining Schoenberg'€˜s philosophy of unity as embodied in his compositional theory and practice, and brings to light his explicit and implicit metaphysical commitments through the lens of Arthur Schopenhauer's philosophy. A critique is offered that utilizes a vibrant tradition of contemporary trinitarian theology, drawing, in particular, upon the work of Colin Gunton. This theological critique employs 'musical space'€˜ to assist in 'sounding out€' and articulating a trinitarian and perichoretic model of unity. Thus, this thesis shows not only how theology can benefit the philosophy of music, but also how the philosophy of music can enrich and augment theological discourse. Part I examines unity from the perspective of 'particularity'˜. This inquiry traces Schoenberg's investigations into the material of music, from which he draws two conclusions: that conflict is essential to the musical material, and that the distinction between consonance and dissonance is illusory. Through adopting these assumptions into his philosophy of unity, Schoenberg unwittingly develops a theory of the many that undermines the value and integrity of material particulars. In response, this project counters with a trinitarian theology that upholds the integrity of particulars through a mutually constitutive understanding of particulars-in-relation. Part II examines unity from the perspective of 'the whole'€˜. This investigation focuses upon Schoenberg'€˜s structural principles of coherence, from which he makes three claims: that 'the whole'€˜ ('the musical idea') is distinct from the composition, that the essence of the musical idea must be expressed in every individual part within the whole, and that the primary goal of the composer is to express the musical idea. Schoenberg'€˜s construction of unity is, therefore, dependent upon privileging the one over the particular. Thus, Schoenberg'€˜s theory and practice lack the sort of unity in which the concepts of oneness and particularity are related adequately. This project proposes that a proper understanding of unity can arise only from a triune conception of being that holds oneness and particularity inseparably together: not as mutually exclusive, but as mutually constitutive.

published_or_final_version / abstract / Music / Master / Master of Philosophy

An original composition in three movements for large orchestra. Following the score is a detailed analysis of the work, consisting of an introduction, three sections of analysis devoted to each of the three movements of the composition, and a short conclusion summarizing the analysis.

This composition is a work for harpsichord (two players), flute, clarinet, violoncello and tape. In four sections, interspersed by three electronic interludes, the timbral interplay among the four live instruments is exploited, with particular emphasis being given to the sonic effects achieved by the careful manipulation of the interior of the harpsichord. As such, the two harpsichord players have distinctive roles in the ensemble: one of them operates the manuals in a more or less conventional fashion, while the other performs precisely indicated functions inside the instrument.The novelty of the latter activity has necessitated the invention of a few new notational symbols, which are employed throughout the score, Another uncommon notational device is the omission of bar lines, in an attempt to express the independence of contrapuntal lines within the piece.Ball State UniversityMuncie, IN 47306 / School of Music

Whenever a new form or style of musical composition is introduced, of which our society has not been adequately conditioned, there arises an immediate desire to present some type of logical and artistic interpretation to this person's new form of expressing himself. Thereby, if a performer or teacher of music desires to understand composition and the interpretation given to a piece of music, he usually draws from his reservoir of information which has been built upon the style and tradition of the past. However, this cannot be achieved when studying the music of our contemporaries, or of such a man as Olivier Messiaen, for he goes much further than any other composer and brings to use an entirely new form or media of musical expression. Although the organ music of Messiaen is becoming more and more widely known in this day of organ and stereo enthusiasts, there exists only in very rare cases, a musical and a spiritual understanding of his music. From the performing point of view, the music in most cases is technically difficult, requiring a real virtuosity in the French tradition, such as explored by Marcel Dupre (playing and composing or Improvising simultaneously). Unfortunately nearly all of our concert organists today employ the big, showy pieces of Messiaen as spectacular technical showpieces, forgetting entirely their deeply spiritual nature, and in many cases, insecure-or inacurate rhythmic presentations of the works, produce a distortion of the composers intent.Therefore, it is now the problem of the student, the recitalist, and theorist to study Messiaen's philosophies, plus the many new techniques in his composition, so that a true, concise, and valuable interpretation might be rendered in performance. Because the need for study in this area was felt, the creative project was selected and to these ends was directed.

This portfolio presents seven compositions composed for different instrumental and vocal forces, accompanied by a commentary and recordings of some of these works. Across the seven pieces there has been a concern with building longer-term structures; establishing a stronger developmental style; and with moving towards a more systematised approach to harmony as a way of creating a harmonic language that can underpin development more efficiently.  Several of the works show a direct engagement with the issue of form, which is approached from the perspective of Classical models, the listener’s perception and in the context of a highly chromatic harmonic language.  In contrast, two works (<i>Aubade</i> and <i>So Turn Your Heart</i>) engage more directly with diatonic models of harmony. The dominant concern across all the works presented has been the desire to create developmental, direct music in which the notion of transformation, rather than stasis and ritual, are of paramount importance.  From a melodic, harmonic and structural point of view each work represents different ways in which this has been attempted. The commentary that accompanies the works explores many of these ideas in more detail as well as setting out the origins and development of each composition. There is also an explanation as to how the initial material was decided upon and utilised during the compositional process. The commentary then concludes with a summary of what has been achieved over the course of the programme and where this might lead in the future.

The problems arising in the conception, composing and perfecting of a composition may be divided into two types (1) Those connected with the composition itself; and (2) Those pertaining to the interpretation of the moods and thematic variations of the composition by the orchestra.

Orientador(a): Yara Borges Caznók / Banca: Graziela Bortz / Banca: Maurício Funcia de Bonis / Banca: André Luiz de Campello Duarte Cardoso / Banca: Leonardo Martinelli / Resumo: Uma das maneiras de ampliar a compreensão sobre um texto musical é abrir o leque de perspectivas de abordagem analítica frente a uma mesma obra, para que maiores possibilidades interpretativas possam advir. Partindo-se desta premissa, esta tese tem como principal objetivo a aplicação de diferentes procedimentos analítico-musicais a uma mesma composição, e posterior inter-relação entre seus resultados, cotejando as diferentes visões e interpretações encontradas. Para tanto, selecionou-se uma obra tradicional do repertório sinfônico romântico: a Sinfonia nº 2, op. 73, em Ré maior, de Johannes Brahms. Foram realizados três estudos analíticos completos de seus 4 Movimentos: Análise Formal, de acordo com Arnold Schönberg (1996), William Caplin (1998), Charles Rosen (1988) e James Hepokoski e Warren Darcy (2006); Análise Motívica, segundo Rudolph Reti (1978); e, por fim, Análise Schenkeriana, conforme Heinrich Schenker (1935), Allen Forte e Steven Gilbert (1982), Felix Salzer (1982) e David Neumeyer e Susan Tepping (1992). Posteriormente, os dados encontrados foram comparados, procurando indicar algumas possibilidades de leitura da obra por meio da intersecção das visões específicas. Ao final, esses resultados analíticos foram confrontados com três gravações realizadas por diferentes orquestras, em épocas distintas, tendo à frente regentes reconhecidos como grandes intérpretes da obra de Brahms: Orquestra Sinfônica Columbia, Bruno Walter (1960), Orquestra Filarmônica de Berlim... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: A good way to expand the comprehension of a musical text is to open the range of analytical perspectives on approaching the same work, so that greater interpretative possibilities may arise. Starting from this premise, the main goal of this thesis consists in applying different analytic-musical procedures to the same composition, and later interrelationship between its results, comparing the different visions and interpretations founded. For this, a traditional work of the romantic symphonic repertoire was selected: Symphony No. 2, op. 73, in D major, by Johannes Brahms. Three complete analytical studies were built of its 4 Movements: Formal Analysis, according to Arnold Schönberg (1996), William Caplin (1998), Charles Rosen (1988) and James Hepokoski and Warren Darcy (2006); Motivic Analysis, according to Rudolph Reti (1978); and finally, Schenkerian Analysis, according to Heinrich Schenker (1935), Allen Forte and Steven Gilbert (1982), Felix Salzer (1982) and David Neumeyer and Susan Tepping (1992). After that, the data found were compared, trying to indicate some possibilities of reading the work through the intersection of those specific views. Finally, those analytical results were confronted with three recordings performed by different orchestras at different times, with conductors recognized as great performers of Brahms' work: Columbia Symphony Orchestra, Bruno Walter (1960), Berlin Philharmonic Orchestra, Claudio Abbado (1989) and Boston Symphony Orchestra, Andris... (Complete abstract click electronic access below) / Doutor

Wong, Hoi Yan. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

This essay is an analysis of Gyorgy Ligeti's Melodien for orchestra (1971), with a particular focus on symmetrical structures and imitative echoing. In this essay, I explore the many levels--melodic, harmonic, temporal, and structural--on which these mirrorings and shadowings take place. In Melodien, these symmetries and shadowings are often broken, distorted, or negated; the tension between order and disorder in Ligeti's works manifests itself in these moments. I also explore the connections between Gustav Klimt's mosaic paintings, an inspiration behind Melodien, and Ligeti's compositional practices. In the introduction, I briefly situate Melodien in terms of Ligeti's previous works. In the following two sections, I discuss structural, temporal, and melodic aspects of mirroring and shadowing. In the fourth section, I explore harmonic aspects, including the prevalence of the major third in Melodien and the presence of symmetrical and near-symmetrical interval structures. In the fifth section, I discuss the idea of implied just intonation within the 12-note equal-tempered world of Melodien--distorted shadows of harmonic spectra. In the sixth section, I discuss the connections between Melodien and Klimt's mosaic works: the surface-level brightness and glitter of both, structural and compositional correspondences between Klimt's Portrait of Adele Bloch-Bauer I (1907) and Melodien, and the presence of broken symmetries in Klimt's works.