Thesis (M.A.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 53-55).

Dissertation (PhD) Florida State University, 2005. / Advisor: Michael Buchler, Florida State University, College of Music. Title and description from dissertation home page (viewed 2005). Document formatted into pages; contains 155 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ph. D.)--University of Washington, 2006. / Vita. Includes bibliographical references (p. 258-261).

Dissertation (PhD) Florida State University, 2005. / Advisor: Jane Piper Clendinning, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-22-07). Document formatted into pages; contains 351 pages. Includes biographical sketch. Includes bibliographical references.

<p> The concept of emergence, and/or emergent properties, is one that has gained resurgence within the realm of various branches of science and the humanities. Emergence is an idea that explains to/for us how dynamical systems, complexes of elements, bodies, and even concepts, begin to exhibit properties and behaviors that are at least seemingly greater than the sum of their parts- how irreducible, novel, complexities arise from constructs of fundamental entities. I argue that in some music of 20th and 21st century American experimentalists, we have music that is under-theorized and lacking in an appropriate contextualization in regards to emergent properties within music. I claim that a careful distinction between indeterminate forms and emergent properties is needed to further develop how we think about these works, and examine them in light of more recent philosophical and aesthetic developments. This paper does not aim to lay out a fully ontology or metaphysics of what emergence is in general, but rather works towards a working definition of a kind of emergence present within the music of various American experimental composers (John Bischoff, Tim Perkis, Chris Brown, David Tudor), and how to apply such a definition of emergence to an aesthetic framework of understanding live electronic music.</p><p>

Thesis (M.M.)--Boston University

Thesis (M.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

<p> The following dissertation combines reception history and technical analysis in a revisionist account of Russian orchestral music from 1850 to 1870. Through close readings of a wide range of reception materials, I recover little-known historical perspectives on this repertory, focusing particularly on ways in which Russian musicians engaged with transnational musical trends. These historical perspectives inform my analyses of compositions by Mikhail Glinka, Mily Balakirev, Alexander Dargomyzhsky, and Anton Rubinstein. In these analyses, I elucidate formal, harmonic, and orchestrational features that nineteenth-century Russian listeners found notable, such as Balakirev's disintegrating recapitulations, Dargomyzhsky's ubiquitous augmented triads, and Glinka's timbrai crescendos. This analytical approach allows me to reimagine this repertory as a variegated network of musical works, where each new composition is a reaction to existing ones, to domestic reception, and to pan-European aesthetic currents.</p><p> Chapter 1, entitled "Glinka's Three Models of Instrumental Music," traces the organicist discourse surrounding Glinka's orchestral fantasias, links the origins of this discourse to the writings of Adolf Bernhard Marx, and articulates the musical features that distinguish the three fantasias. Chapter 2, "Formal Disintegration in Balakirev's Overtures," portrays Balakirev's attempts to distinguish himself from Glinka as well as from established formal conventions of the time, primarily through creative reinterpretations of formal strategies employed by Robert Schumann, Hector Berlioz, and Franz Liszt. Chapter 3, "Satire, </p><p>

The thesis presents Schenker's theory of musical structure as grounded in the (mainly pedagogic) music theory and practice of the eighteenth century, like the music of the period of German classicism to which it relates. It argues that Scheriker was right to see his theory as having a wider significance than the strictly music-theoretical, and that the music-structural concept which he elaborated and codified is inseparable from the work as a whole. Set apart from the aesthetic and cultural outlook from which it emerged, the historical and critical studies of the repertory and of the theoretical literature, it may still be usable, but it is profoundly impoverished and loses the very particular meaning it had for Schenker. The thesis proposes that while Schenker' s formulation of his structural concept is unique,. the concept itself is not, but was a cultural property which Schenker re-discovered and that it is in this re-discovery as much as in the thing itself that the significance of his work resides. The view of Schenker as an eccentric is counterbalanced by a picture of a thinker moulded by experiences anything but unique to him, but, nevertheless unique to a particular historical phase. It is suggested that in the absence of a minimal degree of understanding of this phase and these experiences no judgement of Schenker as thinker,' writer, even musician, can properly be made. Chapter One gives a brief account of Schenker' s career. Chapter Two attempts to define a context for his exploration of eighteenth- and nineteenth-century pedagogic theory. Chapter Three attempts to dispose of sane mid-century shibboleths inhibiting understanding of Schenker. Chapter Four explores the radical changes in the character of musical scholarship taking place in Schenker' s lifetime, relating these to developments in other fields, especially in philology, and considers their effect on him. Chapter Five considers Schenker' s attitude towards aesthetic and scientific theories in circulation in his day and their contribution to the formulation of his music-structural concept and its development. The main focus of this chapter is the metaphysics of music of Schopenhauer. Chapter Six examines sane of the problems arising from Schenker' S historical-cultural situation and considers the enabling role played for him by the work of Nietzsche.

<p> Absolute pitch (AP) is also referred to as Perfect Pitch. AP possessors are able to identify pitch in any kinds of sound without a reference point. However, Absolute Pitch may hinder possessors in music studies because it can confuse their brain. It is significant to understand that Absolute Pitch is not purely an advantage for possessors. While Absolute Pitch has great impact on possessors, it may bring negative phenomenon to them, which could decrease their learning ability. </p><p> This project&rsquo;s purpose is to examine whether Absolute Pitch is a benefit or challenge in music studies. I will begin my project with archival research to provide background information and facts of Absolute Pitch. It will explain how Absolute Pitch is beneficial and challenging for musicians. Five hypotheses are suggested in the project: (1) Absolute Pitch possessors perform excellently in music dictation. (2) Absolute Pitch possessors value special tone quality. (3) Possession of Absolute Pitch is not always useful and accurate. (4) Absolute Pitch possessors have different perspectives in hearing intervals. (5) Absolute Pitch possessors have difficulty at transposing music.</p><p>