Global ETD Search

1	Implications for the Performance of the Music of Lee Hyla Hayslett, Bryan 27 October 2023 (has links) Lee Hyla (1952–2014) gehörte zu einer Generation von Komponist_innen, die nachhaltig prägende Einflüsse durch das Spielen in Rock Bands und das Hören von Rock, Punk, Jazz und anderen nicht-klassischen Genres empfingen. Hyla zählt zu den versiertesten Komponisten seiner Generation, doch ist sein Werk kaum erforscht. Die Einflüsse auf seine Musik, u. a. von James Brown, Captain Beefheart, Neil Young und Cecil Taylor, manifestieren sich in seiner Musik in einer Weise, die postmoderne Zitat- oder Verweistechniken überwindet und seinen Zugang zu Rhythmus, Metrum und Phrasierung beeinflusst. Diese Qualitäten sind von einzigartigem Interesse für Hörer_innen und stellen besondere Herausforderungen an die Ausführenden. In der Analyse von Dream of Innocent III (1987) für verstärktes Cello, Klavier und Percussion stelle ich mein analytisches Rahmenkonzept vor, das von Lerdahls and Jackendoffs generativer Theorie tonaler Musik und von Bruce Hayes’ Theorie metrischer Betonungen inspiriert ist. Meine Analyse basiert auf Rhythmus und Metrum und zeigt die Implikationen der Hyla beeinflussenden Musikformen auf die Performance von Phrasierung und Struktur. / Lee Hyla (1952–2014) belonged to a generation of composers whose formative musical experiences included playing in rock bands and listening to rock, punk, jazz, and other nonclassical genres. Hyla is among the most accomplished American composers of his generation, yet his work remains underexamined. His influences, particularly James Brown, Captain Beefheart, Neil Young, and Cecil Taylor, manifest in Hyla’s music in a manner that transcends postmodern quotation or mere reference and affect his approach to rhythm, meter, and phrasing. These qualities provide unique interest for the listener and specific challenges for the performer. Through an analysis of Dream of Innocent III (1987) for amplified cello, piano, and percussion, I present my analytical framework inspired by Lerdahl and Jackendoff’s generative theory of tonal music and Bruce Hayes’s metrical stress theory. My analysis, rooted in rhythm and meter, shows performative implications of Hyla’s influences as related to phrasing and structure. Metrum, Phrasierung, Rhythmus info:eu-repo/classification/ddc/780 ddc:780
2	The long line of the Middle English alliterative revival : rhythmically coherent, metrically strict, phonologically English Psonak, Kevin Damien 10 July 2012 (has links) This study contributes to the search for metrical order in the 90,000 extant long lines of the late fourteenth-century Middle English Alliterative Revival. Using the 'Gawain'-poet's 'Patience' and 'Cleanness', it refutes nineteenth- and twentieth-century scholars who mistook rhythmic liveliness for metrical disorganization and additionally corrects troubling missteps that scholars have taken over the last five years. 'Chapter One: Tame the "Gabble of Weaker Syllables"' rehearses the traditional, but mistaken view that long lines are barely patterned at all. It explains the widely-accepted methods for determining which syllables are metrically stressed and which are not: Give metrical stress to the syllables that in everyday Middle English were probably accented. 'Chapter Two: An Environment for Demotion in the B-Verse' introduces the relatively stringent metrical template of the b-verse as a foil for the different kind of meter at work in the a-verse. 'Chapter Three: Rhythmic Consistency in the Middle English Alliterative Long Line' examines the structure of the a-verse and considers the viability of verses with more than the normal two beats. An empirical investigation considers whether rhythmic consistency in the long line depends on three-beat a-verses. 'Chapter Four: Dynamic "Unmetre" and the Proscription against Three Sequential Iambs' posits an explanation for the unusual distributions of metrically unstressed syllables in the long line and finds that the 'Gawain'-poet's rhythms avoid the even alternation of beats and offbeats with uncanny precision. 'Chapter Five: Metrical Promotion, Linguistic Promotion, and False Extra-Long Dips' takes the rest of the dissertation as a foundation for explaining rhythmically puzzling a-verses. A-verses that seem to have excessively long sequences of offbeats and other a-verses that infringe on b-verse meter prove amenable to adjustment through metrical promotion. 'Conclusion: Metrical Regions in the Long Line' synthesizes the findings of the previous chapters in a survey of metrical tension in the long line. It additionally articulates the key theme of the dissertation: Contrary to traditional assumptions, Middle English alliterative long lines have variable, instead of consistent, numbers of beats and highly regulated, instead of liberally variable, arrangements of metrically unstressed syllables. / text Linguistics Language Phonology Phonological English Accent Rhythm Medieval Middle English Alliteration Poetry Philology Metrical Poetics Prosody Metrical stress Beat Gawain Chaucer Verse Promotion Demotion Tension Pause Iambic pentameter Patience Cleanness Yakovlev Cable Chomsky Minkova Brogan Saintsbury Wimsatt Beardsley Pearl Duggan Shakespeare Beowulf

Search results

Implications for the Performance of the Music of Lee Hyla

The long line of the Middle English alliterative revival : rhythmically coherent, metrically strict, phonologically English