Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T18:31:39Z : No. of bitstreams: 1 bitondi_mg_me_ia.pdf: 1405387 bytes, checksum: 7b0fc9065849cbcafb0af98028440654 (MD5) / Universidade Estadual Paulista (UNESP) / O presente trabalho de pesquisa teve como objetivo fornecer subsídios para o melhor entendimento do pensamento melódico na música contemporânea. Por meio da análise descritiva e comparativa da estruturação melódica de quatro importantes peças do repertório pós-1945, verificou-se a hipótese de que elas preservam caracteríticas de épocas anteriores, assim como apresentam semelhanças entre si, o que permite que sejam relacionadas estilisticamente. As peças escolhids foram: Madrigal I, de Henri Pousseur; In Freundschaft, de Karlheinz Stockhausen; Sequenza IXa, de Luciano Berio; e Dialogue de l'ombre double, de Pierre Boulez. Elas foram escolhidas pela sua relevância no repertório e pelo fato de terem sido compostas para instrumento monódico solo, formação que força o discurso musical a se focar em aspectos melódicos. Os métodos analíticos aqui presentes baseiam-se principalmente em modelos propostos por Schoenberg (1996), Toch(1994) e De la Motte (1993). Os resultados das análises demonstraram que grande parte da construção melódica das peças analisadas é composta por estruturas e procedimentos que já se faziam presentes no repertório tradicional modal ou tonal. Ao mesmo tempo, os resultados destacam contribuições criativas enriquecedoras por parte dos compositores na utilização destes mesmos procedimentos e estruturas. / The presente reseach aimed the better understanding of the melodic thinking in contemporary music. Through desciptive and comparative analysis of the melodic structure of four important plays of the post-1945 repertoire, it was verified the hypothesis that they preserve the characteristics of previous periods, as well as present similarities among each other, wich allows them to be styliscally related. The chosen works were: Madrigal I, of Henri Pousseur; In Freundschaft, of Karlheinz Stockhausen; Sequenza IXa, of Luciano Berio; and Dialogue de l'ombre double, of Pierre Boulez. They were chosen according to their relevance in the repertoire and because they were composed for solo monodic instrument a formation which induces the musical spreech to focus on melodic aspects. The analytical methods here presented are based mainly on propossed by Schoenberg (1996), Toch(1994) and De la Motte (1993). The results of the analysis demonstrated that most of the melodic construction of the pieces mentioned above is formed by structures and procedures that were already present in the traditional modal or tonal repertoire. At the same time, the results highligted enriching creative contributions by the composers in the use of these same procedures and structures.

No description available.

Repository copy includes the score of 16 pages, including 1 page of performance instruction, in a pdf format from the original, edited in Sibelius 8.2.0. / Barzakh means separation in Arabic. Moreover, in the Islamic eschatology, it is a barrier between the physical and spiritual worlds. In this piece, I am using this idea as an inspiration to my creation so that a disrupting sound and its developments are separating the sound worlds and opening new dimensions for new musical spaces. The piece is composed for string quartet and its duration is approximately 9 minutes.

No description available.

No description available.

No description available.

Guilt, forgiveness, and reconciliation are fundamental themes in human musical life, and this thesis investigates how people articulate these experiences through musical performance in contemporary genres. I argue that by participating in performances, individuals enact social narratives that create and reinforce wider ideals of music’s roles in society. I assess the interpenetrations of music and guilt, forgiveness, and reconciliation through a number of case studies spanning different genres preceded by a brief introduction to my methodology. My analysis of Arnold Schoenberg’s A Survivor from Warsaw illustrates the themes (guilt, confession and memorialisation) and approach I adopt in the three main case studies. My examination of William Fitzsimmons’s indie folk album The Sparrow and the Crow, investigates how ideals of authenticity, self-revelation, and persona structure our understanding of the relationship between performer and audience in confessional indie music. Analyses of two contemporary choral settings of Psalm 51 by Arvo Pärt and James MacMillan examine the confessional relationship between human beings and God. I suggest that by transubstantiating the sacramental traditions of confession in pieces designed for the concert hall, these composers navigate the boundary between the aesthetic and the sacramental. Lastly, I contrast two pieces connected to reconciliation efforts in Australia and South Africa: I argue that the unified narrative of healing in Kerry Fletcher’s “Sorry Song” becomes a performative communal apology, whilst the fragmented, multi-vocal narrative of Philip Miller’s REwind: A Cantata for Voice, Tape and Testimony illustrates how reconciliation may be achieved through constructing a collective history that acknowledges the multiplicity of testimony in post-apartheid society. I conclude that these pieces provide a means for people to enact narratives of guilt, forgiveness, and reconciliation and point towards new areas of study on the multivalent relationship between contemporary music and memory.

No description available.

As composers continue to explore new horizons of classical music, performers are asked to stretch and explore their abilities as well. However, there is little pedagogical material that prepares students to learn the style and structure of this contemporary music. Many students primarily study etudes written in the style of pre-1900 music, leaving them without the tools to learn most music written since 1900. The pedagogical literature that does include music from the twentieth century is often very advanced, and lacks an introduction for younger students. This thesis includes a method of teaching contemporary techniques to junior high and high school level students, along with sixty-four original etudes composed to teach the scales, rhythms, meters, styles, and extended techniques that are often used in contemporary music. The accompanying text provides a detailed explanation of the process and pedagogical philosophy behind the etudes, including examples from different systems of music education. The etudes are specifically composed to teach fundamental skills for bassoonists, such as technical facility, solid subdivision and comprehension of meter, an understanding of different styles of music, and extended techniques that require proper fundamentals of tone production. They may also be used as sight-reading pieces or for students who have a specific need to learn certain techniques. Each section of etudes also includes an introductory section that guides the student through the process of learning the skill and performing the etude correctly.

abstract: This document examines select percussion works of Toshi Ichiyanagi (b. 1933), in order to create a resource that brings exposure and sparks interest in his percussion music. Ichiyanagi has long been one of Japan’s leading composers. However, despite having a successful career since the 1960s, he is not well-known in the United States. Furthermore, his close associations with celebrated American avant-garde composers and performers like John Cage, David Tudor, and La Monte Young, make Ichiyanagi’s virtual obscurity in the United States even more striking. Particularly, for a field birthed in the avant-garde, it is surprising that many of his percussion compositions avoid mainstream recognition. For the study, the author prepared and performed a recital of the five works that are discussed: Wind Trace (1984), Trio Interlink (1990), Rhythm Gradation (1993), Perspectives II (1996), and Ballade (2002). The document is a performance guide that also provides background information on each piece. The guide discusses technical and interpretative issues uncovered through firsthand preparation and performance, and provides suggestions to solve them. At the conclusion, the author draws connections between these pieces, to highlight similarities that will be helpful to consider when preparing performances of any of his works involving percussion. Finally, an exhaustive catalog of known Ichiyanagi percussion works is provided as a resource for further performance and research. Ichiyanagi has been writing for percussion since the 1970s. His catalog includes solos, chamber pieces, ensemble pieces, mixed-chamber pieces, and concerti. With recent compositions like Marimba Scenery (2011), Concerto for marimba and orchestra (2012), and the duo Two Dimensions (2012), Ichiyanagi continues to write for percussion. Virtuosi such as Sumire Yoshihara, Atsushi Sugahara, Momoko Kamiya, and Mutsuko Taneya have commissioned and premiered works by the composer. These pieces are on par with the challenging repertoire that has dominated percussion literature since the mid-twentieth century. Nonetheless, the author has found no existing document that is fully devoted to Ichiyanagi’s percussion work. / Dissertation/Thesis / Doctoral Dissertation Music 2017