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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008. / Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1593. Adviser: Heinrich Taube. Includes bibliographical references (leaves 251-258) Available on microfilm from Pro Quest Information and Learning.

This paper will explain my current compositional work, which focuses on the thematization, deconstruction, and reconstruction of musical idioms. I give an overview of the historical and aesthetic background for my work, drawing connections between Afro-diasporic aesthetics and the 20th and 21st century phenomenological tradition. I explain how I apply literary critic Henry Louis Gates’ concept of Signifyin(g) in my music through intertextuality, anachronistic instrumentation, microtonality, and rhythmic transformation. I then give an in- depth analysis of three pieces from Orlando Furioso (2022), En Tornasol, Galliard, and Bootstrap Bernie. I show how these concepts and resources can be applied to composition in creative and productive ways.

Untune the Sky is a collection of ten original preludes, dances, and songs for microtonal viola da gamba in 7-limit just intonation with voice and live electronics that incorporates elements of Baroque music, traditional Irish dance music, extended just intonation tuning theory, and live electronic audio processing techniques. This thesis thoroughly describes the work and contextualizes its relationship to its historical and contemporary influences. The first sections explain why extended just intonation and viola da gamba were chosen as the central elements of the work. This is followed by a description of the structure, instrumentation, notational conventions, and intended performance practice of the work. The final section contains a musical analysis of the form, harmony, and structure of each piece in the collection. For researchers and interested performers, Appendix A contains a brief catalog of existing microtonal viol repertoire listed with a description of the microtonal techniques used.

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此作品集提供有一篇文章介紹72-TET記譜法及七首音樂作品。音樂作品採用不同編寫，包括樂團三首，室內樂作品三首，藝術歌曲一首。 / Seven works (three orchestral, three chamber, and one vocal) written and performed in the last three years constitute this portfolio, along with an introductory essay discussing a common feature in many, a form of 72-TET notation. For all of these pieces, microtones are employed; for some, this is fundamental to the technical construction of the piece, while, for others, microtones function as ornamental devices. / The variety of compositional goals enabled through microtonal notation is reflected in the differing technical approaches to the works: East Cathedral for full orchestra requires a representation of 19 just intonation overtone pitches (as high as the 125th harmonic) which enable a shifting timbral palette, sometimes orchestrating closely defined intervals otherwise impossible to approximate using conventional notation. A similar approach is found in ON/OFF which retunes five electric guitars to certain overtones between the eighth and 39th harmonics but which accomplishes much higher partials by employing a violin bow. Suite for string orchestra with sheng employs traditional diatonic harmonies employing simple just thirds juxtaposed with natural harmonic clusters in the low strings and at other times leading to untraditional diatonic clusters or extended collisions of microtonal comma values. Study and Variation on an Extended Pythagorean Tuning for violin, cello, and guzheng employs a collection of pitches selected from a spiral of perfect fifths, while Hymn to Morning, on the classic hymn text of Thomas Ken, uses quarter tones in the vocal part only, constructing modes outside of the established diatonic system. Duo: in cerca for violin and viola uses quartertones and glissandos to contribute to its wide range of techniques approximating dramatic dialogue between the instrumentalists, employing pitch “bending and characteristics of vocal portamento, while, similarly, Déjà vu for solo violin, harp, piano, and string orchestra also includes quartertone notation and glissandos to help lead the listener into a series of interludes at odds with the melodic statements of the soloist. / East Cathedral : for full orchestra -- Déjà vu : for solo violin, harp, piano, and string orchestra -- Suite : for string orchestra with sheng -- Study and variation on an extended Pythagorean tuning : for violin, cello, and guzheng -- Duo : in cerca : for violin and viola -- Hymn for morning : for voice and piano -- ON\OFF : for five electric guitars. / Detailed summary in vernacular field only. / Marshall, Eli Matthew Bakaley. / Thesis (D.Mus.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves xxxiii-xxxvi). / Abstract also in Chinese.

Thesis (Ph.D.)--University of Wollongong, 2007. / Typescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.

Isang Yun (1917-1995), one of the most important avant-garde German-Korean composers, is perhaps best known for his success at integrating Korean musical elements into traditional Western styles. His Concerto for Oboe, Oboe d'amore, and Orchestra incorporates many traditional Korean elements, and uses techniques such as Hauptton, Hauptklang, and Umspielung to blend these elements into a Western musical style. This study explores the elements of traditional Korean music and instruments present in Yun's score, examines his compositional techniques, and makes practical performance suggestions that allow performers to properly convey his intentions. This dissertation includes six chapters. The first chapter discusses the purpose and importance of the study. The second chapter reviews Isang Yun's biography and works, based on a published interview with Yun and a biography written by his wife of many years. The third chapter introduces the characteristics of traditional Korean woodwind instruments relevant to the work. The fourth chapter examines Yun's compositional techniques of Hauptton, Hauptklang, and Umspielung in the work and their relationship with the main-tone and Sigimsae techniques. The fifth chapter introduces and explores different types of Sigimsae in the work, with suggestions for quarter-tone performance techniques. The sixth and last chapter is a conclusion.

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Tout au long de leur histoire, les Japonais ont cultivé précieusement leurs propres traditions, tout en assimilant lescultures voisines, celles d’Asie continentale (Chine, Corée), puis celles apportées par l’Occident. Pourtant, aujourd’hui,au début du XXIe siècle, leur vie quotidienne est marquée par le monde occidental et il nous semble que « la traditionjaponaise » commence à tomber en désuétude. Le mot « tradition » prend même une couleur exotique à leurs yeux, etdésormais, ce sont les Occidentaux qui tournent leur regard vers la tradition japonaise. Parmi eux, deux compositeursfrançais, Laurent Martin (1959-) et Jean-Luc Hervé (1960-). L’objet de leurs recherches est le moteur de leur créationmusicale et leur intérêt pour le Japon ne se limite pas à des stéréotypes. Laurent Martin s’intéresse au premier chef à lalittérature japonaise et Jean-Luc Hervé est attiré avant tout par l’agencement du paysage japonais (architecture, jardins).Tous deux sont en quête de ce qui est ignoré ou oublié des Japonais eux-mêmes : « la tradition japonaise », qui est digned’être perpétuée ou remise à jour. Les centres d’intérêt de ces deux compositeurs ont nourri le sujet de notre recherche.Après avoir étudié les particularités des cultures japonaise et française, leurs points communs et ce qui les différencie,nous analyserons Poèmes japonais de Laurent Martin et Effet lisière de Jean-Luc Hervé sous divers angles. À partir deces deux modèles musicaux, nous nous demanderons comment les Japonais eux-mêmes peuvent appréhender leurspropres traditions au sein de la société moderne. / During their long history, the Japanese people had managed at the same time to cultivate carefully their own traditionswhile integrating the surrounding cultures, first those of continental Asia (China, Corea), then the Western cultures. Andyet, nowadays, it seems that the daily life of the Japanese people has become more and more westernized while the socalledJapanese tradition is receding. For the Japanese, the term itself of “tradition” seems to take an exotic meaning andhenceforth, Westerners are now mainly taking interest in the Japanese tradition, and among them, two contemporaryFrench composers, Laurent Martin (1959-) and Jean-Luc Hervé (1960-). The object of their research constitutes thedynamic of their musical creation and their interest in Japan is not confined to stereotypes. Laurent Martin’s maininterest lies in Japanese literature while Jean-Luc Hervé is attracted above all by the layout of Japanese landscapes (inarchitecture and gardens). Both are delving into what the Japanese people are ignoring or forgetting, i.e., the “Japanesetradition” which merits to be perpetuated and brought up to date. The fields of interest of the two composers are theobject of this present research. After studying the particularities of Japanese and French cultures, their commun featuresand their differences, we will analyse Laurent Martin’s Poèmes japonais and Jean-Luc Hervé, Effet lisière from variousperspectives. From those two musical models we will then ask ourselves how Japanese people can assess their owntraditions within modern society.