Among the techniques associated with the theory of musical transformations, network analysis stands out because of its broad applicability, demonstrated by the diverse examples presented in David Lewin’s seminal work Musical Form and Transformation and related articles by Lewin, Klumpenhouwer, Gollin, and others. While transformational theory can encompass a wide variety of analytical structures, objects, and transformations, two particular types of network postulated by Lewin are often featured: the product network and the network-of-networks. These structures both incorporate repetition, but in different ways. This document will propose one possible definition for product networks and networks-of-networks that is consistent with Lewin’s theories as presented in Generalized Musical Intervals and Transformations. This definition will clarify how each of these two network formats may be generated from the same sub-graphs, which in turn will clarify the advantages and disadvantages of each structure for musical analysis, specifically demonstrating how analytical goals shape the choice of network representation. The analyses of Chapters 3 and 4 examine works by contemporary Canadian composers that have not been the subject of any published analyses. Chapter 3 presents short examples from the works of contemporary Québécois composers, demonstrating the utility of these networks for depicting connections within brief passages that feature short, repeated motives. Chapter 4 presents an analysis of R. Murray Schafer’s Seventh String Quartet, demonstrating how these structures can be used to link small-scale events with longer prolongations and motivic development throughout a movement. Chapter 5 demonstrates through a wider repertoire how analytical goals shape the choice of network representation, touching on such factors as continuity, motivic return, and implied collections.

Thesis (Ph. D.)--University of Rochester, 1946. / Typewritten. Bibliography: part 3, p. 153-156. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/6095

Thesis (Ph. D.)--Warburg Institute, University of London, 1982. / Includes bibliographical references (p. 367-383).

Thesis (M.Mus.)--New Zealand School of Music, 2008. / Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 1985. / Typescript. Vita. Includes bibliographical references (leaves 238-245).

Thesis (Ph. D.)--University of Iowa, 1969. / Vita. Includes analyses of selected works by Bartok, Schönberg, Webern, and Scriabin. Photocopy of typescript. Ann Arbor, Mich. : University Microfilms International, 1981. -- 21 cm. Includes bibliographical references (leaves 141-143).

The translator's Thesis--Northwestern University. / The translator's vita.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Kelly Burke; submitted to the School of Music. Title from PDF t.p. (viewed May 11, 2010). Includes bibliographical references (p. 148-159).

Thesis (Ph. D.)--Indiana University, 2005. / Computer printout. Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0404. Chair: Frank Samarotto. Includes bibliographical references (leaves 407-419), abstract, and vita.

Thesis (Ph. D.)--Ohio State University, 2003. / "Publisher's no.: UMI 3109131." Includes bibliographical references. Also issued online.