Thesis (M.M)--University of Michigan, 1944.

Thesis (Ph. D.)--Lund University, 1984. / Summary in English. Includes bibliographical references (p. 196-198).

Thesis (D.M.A.)--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. / 2031-01-01

<p> This doctoral document and accompanying lecture recital seek to illuminate and bring clarity to <i>aura</i> (2011) for three percussionists and <i>AURA</i> (2015) for four percussionists by Icelandic composer Anna Thorvaldsd&oacute;ttir. This composition is examined through a thorough musical and formal analysis to show that there is a guiding force to be found behind the sustained drones and complex bell themes of the piece. A performance guide to reduce the composition&rsquo;s logistical and musical challenges is included in the hopes that it will shorten the learning curve for a new ensemble as they learn the piece. It is this author&rsquo;s aim that this resource will make this composition accessible to a wider range of ensembles and thereby bring more exposure to the music of Anna Thorvaldsd&oacute;ttir. </p><p> In addition, biographical information and a survey of the composer&rsquo;s compositional process and style is included to increase the limited amount of scholarly research that currently exists on Dr. Thorvaldsd&oacute;ttir and her works.</p><p>

<p> The aim of this study is to provide insight into the percussion music of Dave Maric through an analysis of a trilogy of pieces with backing track, <i> Trilogy</i> (2000), <i>Sense &amp; Innocence</i> (2002/2014), and <i>Thrice Into Flames</i> (2017). The present study examines Maric&rsquo;s influences, analyzes his compositional style, and provides a performance guide. Brief biographical information is provided to introduce Maric. His compositional style is examined by analyzing tonal language and formal structures. The tonal language of these pieces combines octatonic scales and diatonic scales. In terms of form, Maric uses mathematical sequences to determine proportions between sections, including the Fibonacci sequence. The performance guide includes sticking suggestions, transcriptions of backing track cues, and additional comments.</p><p>

<p> This study presents a detailed analytical examination of formal organization in Anton Bruckner&rsquo;s early instrumental slow movements: from the String Quartet, WAB 111, to the Third Symphony, WAB 103. It proposes an analytical methodology and conception of the formative process of musical works that seeks to 1) reappraise the development and idiosyncrasies of his slow movements&rsquo; form, and 2) turn the textual multiplicity often associated with Bruckner&rsquo;s large-scale works (a scholarly issue often referred to as the &ldquo;Bruckner Problem&rdquo;) into a Bruckner Potential.</p><p> In addressing traditional and innovative formal aspects of Bruckner&rsquo;s music, critics have tended to overemphasize one side or the other, consequentially portraying his handling of form as either whimsical or excessively schematic. By way of a reconstruction of Bruckner&rsquo;s early experiments with slow-movement form (1862&ndash;1873), this study argues that influential lines of criticism in the reception history of Bruckner&rsquo;s large-scale forms find little substantiation in the acoustical surface of Bruckner&rsquo;s music and its dialogic engagement with mid- and late-19th-century generic expectations. </p><p> Because the textual multiplicity often associated with Bruckner&rsquo;s works does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner&rsquo;s symphonies as growing out of a dual-dimensional dialogue comprising 1) an <i>outward dialogue,</i> characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an <i>inward dialogue,</i> characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a detailed consideration of each of the surviving realizations of the slow movement of Bruckner&rsquo;s Third Symphony, WAB 103.</p><p>

<p>This thesis explores the potential advantages of incorporating color into musical analysis and musical concepts into art analysis. Music and the visual arts are vehicles of expression using two different perceptible waves as a medium. By comparing the physical attributes of these waves, analogous terminology between the disciplines is highlighted. Terminology parallels allow us to identify relationships between musical ideas and sonorities and color theory concepts and color harmonies. Cross-modal relationships have been explored in synesthetically inspired works in both disciplines. In Scriabin?s Prometheus, the luce presents the colors to the audience. These colors emphasize the harmonic, formal, and mystical elements of the piece. Messiaen?s Des Canyons aux etoiles features chords that were specifically included to paint the colors of the places he had visited. Sonata No. 6 by Ciurlionis is a painting that includes the three major sections of sonata form with the color changes to match. Symphony verte by Valensi includes complex structural variations and the various shading and saturations found in the timbral diversity of a symphony. Accounting for the bimodal aspects of these pieces provides us with a more concise holistic understanding of the artist?s purpose.

<p>Viator, Landon Bachelor of Music, University of Louisiana at Lafayette, Fall 2015; Master of Music, University of Louisiana at Lafayette, Spring 2017 Major: Music Title of Thesis: Thanatos Thesis Director: Dr. Quincy Hilliard Pages in Thesis: 68; Words in Abstract: 94 Abstract The purpose of this thesis is to provide a theoretical analysis of my composition as well as demonstrate the techniques used to compose and compile electroacoustic music in the digital realm using a DAW software. I have demonstrated how to use MIDI instruments to compose music, how equalization was used to digitally change the timbre of the guitar and drums, how compression was used to control the dynamic range of the drums and add fullness to their sound, and I have demonstrated how to create MIDI notes to be played by the software instruments.

This dissertation consists of two parts. Part 1 is a composition for orchestra entitled Now at the Middle of the Night. Part 2 is the current document, which concerns temporality in the score of the movie Arrival. The essay discusses types of experiential time and how the main character begins to see time as a whole, not simply as a linear path. The paper looks at three scenes to examine how the musical techniques mirror the change in perspective the main character undergoes. / Music Composition / Accompanied by 1 .maxpat file: now-at-the-middle-of-the-night.maxpat; and 1 PDF file: Litts_temple_0225E_171/Now at the Middle of the Night.pdf