This thesis examines strategies employed by jazz musicians when they temporarily leave the underlying tonality whilst improvising. The Introduction defines the use of terms such as "outside" and examines texts from the literature. Further. a chronology of the evolution of "playing outside" is proposed. Notation and analysis of twenty short excerpts is given in Chapter 1. along with summary material. This summary material groups "out' playing into three sets: motivic. scalar and spatial. Issues such as common scale choices. placement and the use of compensatory material are also examined. Chapter 2 contains notation and analysis of part of John Coltrane's solo from "Acknowledgement" (from "A Love Supreme"). The analysis reveals a high level of premeditation in this piece. from the choice of the motif to the ordering of transpositions in bars 137-172. Further. two possible sources for these bars are suggested: (a) a construction of transpositions designed to cover the chromatic set and (b) the Mother and Grandmother chords to be found in Slonimsky's ''Thesaurus" (1947). The latter possibility builds upon and supports the work of Demsey (1991). At the end of this chapter is an examination of three pieces by Eric Dolphy. followed by postulations regarding similarities between Dolphy's composition '"245" and Coltrane's "A Love Supreme". Chapter 3 concerns "Chain" strategies employed by Robert Irvin- III on Miles Davis albums ''Decoy" (1984) and "You're Under Arrest' (1985). These strategies are shown to have spatial origins. but to be generally employed in order to maximise the contrast between adjacent chain elements against the underlying tonality. Chapter 4 examines Steve Coleman's published "Symmetry" and "Sum" systems and assesses their use in "Cross-Fade'' (from "Black Science" (1990)). These systems are shown to be natural extensions of Steve Coleman's musical philosophy. Notation and analysis shows that they are highly integrated within his performance and that some elements of his improvisations are premeditated. A final set of conclusions is drawn in Chapter 5. along with ideas for future projects. Related appendices follow.

The degung is a small game lan that is unique to the Sundanese people of West Java. Originating as a prestigious ensemble for the local nobility and formerly confined to the region's administrative courts, the provincial capital city of Bandung has been the geographic focus for the degung tradition since the first decades of the 20'h century. Following sixteen months of fieldwork in Bandung, the dissertation examines the evolution of the gamelan degung in the musical melting pot of this bustling urban centre. Situating the ensemble within the heterogeneous landscape of Bandung's regional arts scene, it considers the way in which degung has come to be positioned as a musical 'common ground' for performers hailing from a variety of socio-cultural and musical backgrounds, as well as a site for the negotiation and assimilation of repertoires and performance practices drawn from across the wider Sundanese music complex. Central to this investigation is the theme of musical transformation, a topic that is explored from several interrelated perspectives. Piecing together a history of the ensemble, the study correlates musical innovations to socio-cultural, politico-economic and technological developments, as well as to broader shifts in Sundanese music as a whole. Specific attention is paid to the ongoing popularisation of degung by the local cassette industry and the role that 'invented' ceremonials have played in the ensemble's postcolonial renaissance. Interweaved into this chronological survey are more focused analyses of the core and specialist skills of the musicians and the intrinsic malleability of the music systems that lie at the heart of such musical change. Transformation is identified as a primary domain of Sundanese musical competence, with processes of transfer and adaptation shown to permeate the creation and realisation of degung repertoires. These diachronic and synchronic accounts of musical transformation are considered to complement rather than to contrast with one another; it is argued that the manner in which the degung has adapted to its altering 'external' environment over time has been determined, at least in part, by the essential constitution and 'internal' dynamics of the larger musical culture in which the ensemble is rooted.

This thesis accompanies the six submitted works, focusing on the utilisation of nature as a compositional factor, and its appreciation in the context of electroacoustic music. Apart from providing a separate discussion of each work. the thesis introduces a theoretical framework, where nature is defined in different types and sources, and where the idea of `naturalness' within a musical context is approached through an examination of certain sound-behaviours. Reference is made to compositional methods used in the six works.

The present study focuses on the annotations Beethoven appended to twenty-one piano studies by John Baptist Cramer, when teaching his nephew Karl. Beethoven held Cramer's collection of studies in high esteem and considered them the best preparatory school for his own works. The reading of his annotations reveals a continual preoccupation with issues such as legato (or bindung in Beethoven's own words), accentuation and the application of poetic feet in the music. This study examines the context of these annotations and applies them to Beethoven's piano music. The author's goal is to stimulate interest in Cramer's neglected Studio per il Pianoforte and to use Beethoven's advice on the execution of these studies as a guide for the performance of his own works. The author believes that this study will serve as a valuable tool to the teachers who teach the piano music of Beethoven and his era, the students who study his music as well as the professional performers of Beethoven's piano works.

This study focuses upon the music of the now-neglected Polish composer Gralyna Bacewicz( 1909-1969). Her success as both a composer and concert violinist is well documented; along list of accolades and prestigious appointments serve as evidence of this. Her posthumous reputation, however, has declined at an alarming rate both inside and outside Poland. The study is introduced by a biography of the composer compiled from both English and Polish sources, providing details of her roles as composer and performer and offering a brief discussion of her music in general. The main body of text is devoted to a contextual analysis of Bacewicz's series of seven violin concertos and the study concludes with a consideration of a number of factors affecting Bacewicz's career and subsequent reception, addressing issues such as Polish cultural policy, the status of women composers, and her juggling of a number of professional and domestic roles. Appendices provide comprehensive listings of both her catalogue of works and recordings. Most importantly, however, the study uncovers the merit and originality of a number of works which exhibit a creative approach to string writing and a highly imaginative use of timbre. Such research should provide the invitation to others for further investigation into a catalogue containing over two hundred works.

Most performances of Classical-period keyboard music today are given on the modem piano. However, the understanding of the sound-differences between the modem piano and the instrument for which this music was composed will most probably reveal that some features of Classical music can be problematical on our present-day instrument. This study will present the main differences between early and modem pianos and will focus on certain aspects of performance practice of the music under discussion, including articulation, dynamics, pedalling and timbre relationships that can prove challenging when transferred on to the modem piano. It will analyse their role and significance, and will demonstrate how they are affected by the changes that have been applied to the piano in the last two centuries. This dissertation will also attempt to suggest possible solutions for the modem player whose aim is, as much as possible, to maintain the style and project the right spirit of the music on the present-day instrument.

David Tudor's sound work Rainforest was created in four distinct versions between 1968 and 1973. The work's central concept is the use of various resonant objects as loudspeakers, or "acoustic filters", to modify sounds from numerous sources which are played through the objects. The author traces Tudor's exploration of the "loudspeaker-object" idea, which Tudor dates back to 1965, and considers the significance of the community of artists, engineers, composers and choreographers surrounding Tudor, for the development of each version of Rainforest. In particular this thesis is concerned with Composers Inside Electronics (CIE), the "family" of younger composer-performers which developed Rainforest 4 with Tudor in 1973, and regularly presented it with him until 1982 as a large-scale "performed installation". During that time CIE also functioned as a collaborative ensemble performing other works by Tudor and the group's members, employing new technologies with an emphasis on "hand-built" electronic devices. A number of CIE works can be shown to be related to the Rainforest series. Following a hiatus between 1982 and Tudor's death in 1996, CIE has again performed Rainforest 4 in several major installations, and has made efforts to bring a new'generation of performers into the group. The author considers the dynamics of this process in the continuation of Rainforest 4 up to 2006, and examines the group's discussions concerning possible future directions for Rainforest.

Creative Intuition can be said to be the motivating force behind the compositional act. To harness it the composer must develop those musical resources which allow him to deal with inspiration, when it comes, as well as developing the techniques to elaborate upon the inspiration received and remain true to his original vision. In this compositional folio, I have tried to highlight different ways in which I as a composer deal with musical inspiration and the development of musical ideas. For this purpose, I begin by considering the moment in time in which I have had to write the pieces included in this folio, and its impact upon my musical practice. In order to introduce my approach to sound creation, I have included a brief section on timbre creation as composition , here I revise some fundamental concepts and examine the general types of sound used and the methods of synthesis at my disposal. In considering intuition and musical association, I discuss improvisation as a compositional act. In Son del Seis , I am concerned with the composer's improvisation at his instrument and how this influences his writing; In Salta Mortal , I examine improvisation at the computer keyboard, and how it is possible, given the software facilities we have today, to operate directly upon the sounds themselves, and organize them musically, in particular I look at my approach to phrase construction with timbral gestures; In Viaje I combine the instrumental and computer improvisational approaches, dealing with pitched timbral gestures within the harmonic framework of modal jazz. The compositional manipulation of time in electroacoustic music could be seen to present different challenges to the composer than those of traditional acoustic music. In considering the poetics of time in electroacoustic music I have used Sin Ti Par EI Alma Adentro as a starting point for my discussion. In my view, setting words to music presents the composer with an opportunity to impress his own reading of the text material upon the listener, in Sin Medida , I discuss my choices in musically illustrating the three poems used. From the composition of all the pieces in this folio and my speculative explanations, I arrive at a number of concluding ideas and briefly state their relevance to my work: composition away from the traditional manuscript pad; the creative manipulation of timbre using synthesizers and samplers; the establishing of notational conventions for the representation of tape parts; the search for a compositional voice that would express my musical mind specifically in regards to integrating 'non -classical' idioms and electroacoustic sounds. In the appendix I have included my summary of a neo-thomistic notion of art, proposed by J. Maritain, to illustrate the philosophical grounds for my compositional work.

The subject of this thesis is not the text contained in this book, but the four electroacoustic compositions presented: Go, Hendrix Haze, Triple Concerto and Toccata del Mago. The purpose of this writing is to put forward a context in which these four compositions may be assessed. In chapter 1, I choose to present my work taking a lateral approach. Rather than discuss my background as a composer and the reasons or 'necessity' for using the electroacoustic medium to express my musical thinking, I have instead introduced a new idea to provide a wider context: Magic Realism in music. I have developed the notion that there is a musical equivalent to Magic Realism in literature, and that my work, as well as the work of other Latin American composers, may be seen in this light. Also in this chapter, I put forward the idea that the electroacoustic medium may be the natural environment or 'habitat', as it were, for the Magic Realist composer to develop. Chapters 2 to 5 present a specific framework, that is, the aesthetic point of VIew and the technical means involved in the creation of each piece. In these chapters, the compositional process is presented, from the first, often abstract ideas that trigger the imagination of a composer, to the decision taken during the final production stage in the studio. It is hoped that this specific framework will convey the necessary Information required for a preliminary assessment of the music presented, in terms of the composer's aims and the results obtained. Yet, a piece of music can be a far more complex and richer phenomenon than the composer's aims and intentions, and it must be ultimately assessed in its own terms.

The thesis examines the modal classification systems and the changes which lead to the development of new systems during the period c.1590 to c.1690 with particular reference to English music theory. It consists of three parts the first of which considers the English writings on music, their readership, their sources, and the basic ideas for the understanding of the traditional Gamut, solmisation system and hexachordal theory. PART 2 examines the methods employed by theorists wishing to categorise music either according to the 8-mode system or the 12-mode system. By studying Italian and German sources referred to in English writings on music, it is seen that the English theorists deal with the modal classification systems in a similar way. Furthermore, the differences between Morley's popular tract (1597), adhering to the 12-mode system, and Dowland's translation (1609) of the small tract by Ornithoparchus, promoting the 8-mode system, are also discussed. PART 3 begins by tracing the development of a new interpretation and definition of the octave as a circular principle. This leads to the theoretical recognition of the invertibility of intervals. In England, in particular the growing circle of natural philosophers and the Royal Society of London seem to play an important role by asking inquisitive questions. Seeing the octave as a circle (and hence also the Gamut), together with a stronger emphasis on the bass as the fundamental part of a composition, encouraged a new interpretation of triads and inversions. The increasing use of fixed pitches versus relative pitches also influenced the interpretation of transposition. The distinctions essential for a modal classification disappeared because of many of these new concepts. Because of the irregularities of the traditional 8-mode system and the determination to adapt it more closely to musical practice, new 8-mode systems were proposed. However, simpler classification systems were also employed as can be seen in many indices in MSS. These systems indicate the final note either together with the transpositional system (i.e. cantus mollis or durus) or with the third above (major or minor). Albeit the invertibility of intervals was acknowledged in the beginning of the seventeenth century, theorists still adhered to the concept of the senario, strongly promoted by Zarlino (1558). The senario argument led to the pairing of major imperfect consonances in opposition to minor imperfect consonances (i.e. two scale types), thus suggesting that the invertibility of intervals was not recognised. The argument was still used by English theorists and natural philosophers at the end of the seventeenth century. However, the two scales were now not only distinguished by the imperfect consonances but also by whether the seventh degree of the scale was major or minor. Thus the theoretical recognition of the major and minor keys was established.