Thesis--Københavns universitet. / Bibliography: p. [244]-249.

Thesis (Ed.D.)--Teachers College, Columbia University. / Includes tables. Typescript. Sponsor: Howard A. Murphy. Dissertation Committee: Paul W. F. Witt, Ernest E. Harris, . Type C project. Includes bibliographical references (leaves 311-321).

Thesis--Københavns universitet. / Bibliography: p. [244]-249.

Thesis (M.A.)--University of Rochester, 1939. / Typewritten. Bibliography: l. 55-58. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/8238

Inaug.-diss.--Göttingen. / Vita.

Inaug.-Diss.--Munich. / Vita. Bibliography: p. iii-xxv.

My harmonic approach is founded on two premises, pertaining especially to chordal spacing. First, that for each of the 4,096 possible sets of pitch-classes within equal temperament, without exception, certain spacing principles and techniques, if consistently applied, will generate clear, or relatively clear chordal roots. Typically, the resulting sonorities will possess more than one root – that is, be heard as polychords. Second, that one may control the level of inherent sensory dissonance of any given set of pitch-classes, presented as a chord, through register. These two factors combine to induce both harmonic coherence and euphony. For most listeners, rightly or wrongly, these are not qualities normally associated with music written using the 4,096 – that is, ostensibly ‘atonal', ‘non-tonal' or ‘post-tonal' music. Through my harmonic method, since chordal roots are consistently clarified, one may compose progressions of chordal roots – an asset on which the coherence of diatonic tonality also fundamentally depends. Within a non-diatonic context, the expressive and technical consequences are far-reaching. The following textual commentary demonstrates all of the above, supported by analyses of numerous musical extracts. These are drawn primarily from four of the compositions included in the portfolio – Madame de Meuron, The Art of Thinking Clearly, Velvet Revolution and Nevermore.

There is no abstract available for this dissertation. / School of Music

Thesis (Ph. D.)--Indiana University, 1963. / Includes vita. Includes bibliographical references (285-289).

Thesis (Ph. D.)--Princeton University, 1980. / Typescript. "This essay and the String quartet no. 2 constitute the dissertation but are otherwise unrelated." With: String quartet no. 2 / Henry J. Martin. 1980. Includes bibliographical references (leaves [R1]-R8).