The creation of institutions devoted to promoting and supporting modern music in the United States during the 1920s made it possible for American composers to develop an identity distinct from that of European modernists. These institutions were thus a critical part of the process of modernization that began in the United States during the early decades of the twentieth century. There is substantial scholarship on these musical institutions of modern music, such as the International Composers’ Guild and the League of Composers; but little to no work has been done on the progressive musical institutions of the 1910s, such as the Music League of the People’s Music Institute of New York, which was founded by Claire Reis. This thesis addresses the questions of how and why American musical modernism came to be as it was in the 1920s through an examination of the various stages of Reis’s career. The first chapter is an extensive study of primary source material gathered from the League of Composers/ISCM Records collection at the New York Public Library, which relates to Reis’s work with the PML in the 1910s. The second chapter uses the conclusions of the first chapter to shine new light on an old subject: the 1923 schism within the ICG that led Reis and others to form the League. The traditional view that the schism was the result of a conflict in idea of style is called into question, and the role that gender and power structure played in the break are explored.

The diploma thesis deals with musical inspiration on the base of the analysis of the composition and motives in Kundera's novels. Basic source of the analysis is Kundera's own reflection of modern music, its principles and functions in author's essays. The aim of the thesis is to chart sources of inspiration which mirror in Kundera's prose and other texts. We proceed from the concrete to the abstract, from analysis of motives and composition of each book, to the intellectual level which is perceptible mainly in author's essays and essaistic passages in some novels. Author's texts are dealt with chronologically. As the level of motives and themes are concerned, the musical inspiration is treated via themes, such as Beethoven and his art of variations, noisy contemporary music and the end of music in the work of Schoenberg. On the level of composition, the author writes novels using schemes of musical forms, such as theme with variations, rondo, sonata form or fugue. In his essays, he mainly examines works of composers Beethoven, Janacek, Stravinskij and Schoenberg. All three levels are connected and they influence each other. The last chapter is oriented didacticly and an option is offered how to use this topic at school. It is important to considerate cross-curricular links between literature and music.

No description available.

No description available.

No description available.

No description available.

No description available.

Made available in DSpace on 2016-12-08T17:06:41Z (GMT). No. of bitstreams: 1 Allan.pdf: 6015471 bytes, checksum: c9502b248f8def57196d096754d4ef5e (MD5) Previous issue date: 2012-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is an analytical study of Béla Bartók s String Quartet nº 3, looking for axes of symmetry that works as pitch organizers. This research is bounded with the Eastern Europe s traditional music done by Bártok, an essential influence to the creation of the composer s musical language. So on, this work begins with a research about the motivations that led Bartók to the peasant music, focusing on the information given by him. This lead to the analysis of folk songs collected by Bartók and his contemporary researchers used as examples by him on his papers, resulting in the finding of tunes composed around an axis of symmetry. In equal measure, such symmetrical formations are found in pieces from others modern composers, mainly those who sought to oppose tonality on their works. It was used musical examples from Stravinsky, Mussorgsky, Berg and Webern, together with others Bartók s works. Although the theory about inversional symmetry is not too recent, with origin on the second part of XX century, most of the analyses are created through methods created by the analyst himself. So, this work directs to a methodological option for the of analysis axes of symmetry, generated with the collecting of used elements from several authors. This work contributes too with the expansion of the axes of symmetry theory by bringing it to the structural level, so that the axes could be symmetrically related to each other. Several symmetrical axés were found on the analysis of Bartók s Third Quartet, a piece considered among his most abstracts works. On this context, the axes of symmetry provide a kind of synthesis of folk music and modern music, that can represent East and West on music / Esta dissertação contém um estudo analítico do Quarteto de Cordas nº 3 de Bela Bartók, a fim de encontrar eixos simétricos que atuam como organizadores das alturas. Tal busca está conectada com o estudo da música tradicional do Leste Europeu efetuado por Bartók, influência essencial para a formulação da linguagem musical do compositor. Para tanto, o trabalho é iniciado por uma pesquisa das motivações que conduziram Bartók à música dos camponeses, dando privilégio às informações dadas pelo próprio autor. Esta pesquisa conduziu à análise de canções coletadas por Bartók ou pesquisadores a ele contemporâneos presentes nos exemplos de canções folclóricas em seu legado escrito, resultando na descoberta de melodias compostas em torno de um eixo de simetria. Na mesma medida, tais organizações simétricas são igualmente encontradas em peças de compositores modernos, principalmente daqueles que procuravam distanciamento da tonalidade em suas obras. Para tanto, foram utilizados pequenos trechos de Stravinsky, Mussorgsky, Berg e Webern, juntamente com excertos de outras obras de Bartók. Apesar de que a teoria a respeito da simetria inversional não seja muito recente, tendo sua origem na segunda metade do século XX, as análises partem de metodologias criadas pelo próprio analista. Assim, este trabalho apresenta uma opção metodológica para a busca de eixos simétricos, formada a partir do agrupamento de elementos utilizados anteriormente por diversos autores. Este trabalho contribui também com a expansão da teoria da simetria inversional para o nível estrutural, de forma com que os eixos também podem se relacionar simetricamente entre si. Diversos eixos simétricos foram encontrados durante a análise do Terceiro Quarteto de Bartók, uma obra considerada entre as mais abstratas do compositor. Neste contexto, os eixos simétricos se constituem como uma síntese da música folclórica com a música moderna, representações do Leste e Oeste na música

La présente thèse se propose de comprendre la production musicale d’Astor Piazzolla, notamment la façon particulière dont le compositeur réalise le dialogue entre musique populaire urbaine et musique savante. Pour ce faire, nous avons repéré quatre courants musicaux principaux dont il a été possible de tracer les origines dans son œuvre : le tango, base structurelle de sa musique, le jazz, la musique baroque et la musique savante moderne. Après avoir montré leur présence dans la première partie, nous procédons à l’analyse de l’articulation particulière de ces éléments dans la deuxième. Certains traits du tango semblent privilégiés dans ce métissage, en constituant des éléments de base repérables principalement par des gestes mélodiques, des modèles d’accompagnement et des timbres caractéristiques très fréquemment employés, qui assurent aussi bien la cohésion et l’unité musicale que l’identité du genre urbain argentin. Cette fusion musicale utilise à de nombreuses reprises des caractéristiques communes des musiques métissées comme stratégie de réussite de l’alliage musical ; on constate dans certains passages un subtil et soigneux dosage des ingrédients musicaux utilisés. Le discours du compositeur, analysé au dernier chapitre, nous a permis en outre de dégager trois aspects de ce rapport entre populaire et savant : la recherche d’une identité, en produisant une musique qui représente la ville de Buenos Aires et l’Argentine ; un rapport aux avant-gardes modernistes, en cherchant à exprimer l’ère de son temps et à symboliser la nouveauté à travers une musique moderne ; la recherche d’une légitimité, apparue notamment sous l’expression de l’« élévation » du tango. / The aim of the present thesis is to understand the musical production of Piazzolla, especially the particular dialogue between popular and art music in his work. To do so, we located four main musical streams which origins were possible to trace: the tango, structural basis of his music, the jazz, the baroque music and the modern art music. Having shown their presence in the first part, we proceed to the analysis of the particular articulation of these elements in the second one. Certain features of the tango seem favored in this junction, constituting the basic elements mainly through the presence of melodic gestures, accompaniment models and characteristic timbres very frequently used, which assure the cohesion and musical unity as well as the identity of the Argentine urban genre. On numerous occasions, his fusion employs common characteristics of the several music crossed as a strategy for reaching the musical jointure; we also noticed in certain passages a subtle and careful dosage of the musical ingredients used. The speech of the composer analyzed in the last chapter still allowed us to identify three aspects of this relationship between popular and art music: the search for an identity, by producing a music which represents the city of Buenos Aires and Argentina; a relationship with the modernist avant-gardes, in an attempt to express the present time and to symbolize the novelty through a modern music; and the quest for legitimacy, appeared notably under the expression of the "rise" of the tango.

No description available.