Thesis (D.M.A.)--University of Southern California, 1984. / Typescript. Includes bibliographical references (leaves 56-59).

Inaug.-Diss.--Bern. / "Der Instrumentstil von Purcell. Anhang. Beispiele 1-240": 20 p. inserted. Vita. Includes bibliographical references.

Thesis (M.A.)--Rowan University, 2005. / Typescript. Includes bibliographical references.

Thesis (Ph. D.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

Thesis (DMA)--Boston University.

Two "old melodies" (guqu) from traditional Cantonese instrumental repertoire, "The Grief of Zhaojun" (Zhaojun Yuan) and "Autumn Moon Overlooking the Han Palace" (Hangong Qiuyue) are assigned contrasting moods by Cantonese musicians: the former is associated with sorrowful sentiments; the latter, with bright and/or lively qualities. This study attempts to show that affective elements in Cantonese instrumental music intergrate ancient socio-philosophical theories with aspects of traditional performance practice. Chapter 1 presents the similarities between Confucian functionalist ideology and a number of heterophonic features. Chapter 2 introduces the manifestation of Daoist metaphysical philosophy through principles of heterophonic variation and a number of melodic characteristics. Chapter 3 contains some general aspects of traditional Cantonese instrumental music and the musical analysis. The musical analysis looks, within the context of Confucianism and Daoism, at the affective role of melodic embellishment techniques associated with heterophonic practices. / Arts, Faculty of / Music, School of / Graduate

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This dissertation develops an analytical model for studying the specific nature of "themes of return" in the instrumental music of Brahms. Such a formal type, whose most familiar examples are the period and the small ternary, is distinguished by the presence of a "return," that is, the restatement, after intervening material, of its initiating material, which performs the same function as it did in its first appearance. / Brahms' return structures are analyzed according to four parameters: cadence, return, phraseology (which combines aspects of grouping, accentuation and rhythmic activity) and variation of tension (produced by the combined action of such factors as the curve of the melodic line, dynamics and surface and harmonic rhythms). / Brahms' use of cadence and return differs fundamentally from that of classical composers. His cadential gestures are subjected to a looser categorization and articulate broader tonal relations than those found in classical practice. With respect to his treatment of return, he differs from classical composers largely in the influence of underlying factors, such as greater continuity in texture or a tendency to avoid an over-predictibility in cadential organization. The study of cadences and returns thus leads to the identification of formal traits characteristic of Brahms, including the use of structures beginning off tonic harmony. / Both the phraseology and the variation of tension in Brahms' themes exhibit a striking diversity in organization. For example, the phraseology may feature a grouping hierarchy based on a binary division combined with an irregular pattern of accentuation, an additive structure associated with a regular accentuation, or asymmetrical groupings. Variations in tension are often organized around a climax; however, the size and range of the fluctuations in tension can vary considerably, the accumulation of intensity which prepares the climax may be accomplished by different combinations of parameters, and each climax may occupy a different position within a given segment. / Return structures, so abundant in the Brahms' instrumental music, feature a great variety in their organization. This abundance and diversity is due to the structural type's ready adaptability to the particular demands of Brahms' musical style.

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published_or_final_version / abstract / Humanities / Master / Master of Philosophy