Thesis (Ph.D.)--University of Texas at Dallas, 2009. / Includes vita. Includes bibliographical references (leaves 88-102)

This thesis examines separately two rhythmic styles: Renaissance mensural proportions and Elliott Carter's metrical modulation. Some historical background for each style is discussed (including examples from Gafurius' fifteenth-century treatise Practica Musicae) and the musical results of each are enumerated, examined, and compared. Examples of fifteenth- and sixteenth-century compositions are drawn from the works of Guillaume Dufay, Johannes Ockeghem, and Heinrich Isaac, among others. Elliott Carter's first string quartet and Double Concerto provide most of the sources for the study of metrical modulation.Similarities and differences between the two styles are noted, and their significance discussed. / School of Music

Sections of Haydn's piano sonatas chosen for study have been analyzed to determine the composer's technique in modulation and the key schemes resulting from these modulations, and to discover the consistent patterns and exceptional patterns in these sonata movements as a group. As revealed in this analysis, Haydn is consistent in that the key scheme patterns of several development sections are identical. Also modulations, as categorized according to key relationships, are often accomplished by the same or similar procedures. However, there are important and interesting exceptions to these consistent practices which add variety and seem to contribute to Haydn's growth as a composer

The tonal organization of the first-movement development sections of ten Haydn symphonies (nos. 1, 4, 6, 10, 13, 15, 19, 24, 31 and 72), all in D major composed between 1758 and 1765, is directly linked to eighteenth-century theories of modulation. The recent theoretical or musicological literature, with the exception of H. C. Robbins Landon's Haydn: Chronical and Works (1976--1980), has concentrated on Haydn's later high classical style generally ignoring these earlier works composed during his largely self-didactic, most formative years. After evaluating the analytical procedures established by Webster (1991), Wheelock (1992), Sisman (1993) and Haimo (1995) in chapter one, chapter two reviews tonal theories of some eighteenth-century writers. Chapter three presents analytical observations on the Morzin Symphonies (nos. 1, 15, 4, 10). Chapter four extends the discussion of chapter two and focuses on theoretical concepts that determine rank ordering of scale-steps in relation to the tonic. Chapter five focuses on tonal procedures employed in the developments of early Esterhazy symphonies (nos. 6, 13, 72, 24, 31) all of which feature cadentially-confirmed tonicizations of scale-step vi paired with recapitulatory from the main theme. (Abstract shortened by UMI.)

Thesis (Ph. D)--University of Oregon, 2005. / Includes bibliographical references (leaves 89-94). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (Ph. D)--University of Oregon, 2005. / Includes bibliographical references (leaves 89-94)

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