Thesis (Ph. D.)--Princeton University, 1968. / Typescript. Vol. 2: Musical examples. "Volumes 3-4, 'String Trio and Sonority-Variations for Orchestra' not microfilmed at request of author. Available for consultation at Princeton University Library." Includes bibliographical references (v. 1, leaves 102-104).

Thesis (M.A.)--University of California, Santa Cruz, 1992. / Typescript. Includes bibliographical references (leaves 129-136).

Dissertation (M.Mus(Uitvoerende Kuns))-Universiteit van Pretoria, 2004. / Summary in English and Afrikaans. Includes bibliographical references. Available on the Internet via the World Wide Web.

Issued also as inaugural dissertation, Basel. / "Notenbeispiele": 20 p. at end. "Literaturverzeichnis": p. 161-163.

Thesis (Ph. D.)--University of Illinois, 1963. / Vita. Includes bibliographical references (leaves 289-299).

Originally presented as the editor's thesis: Yale University, 1965. / Introduction in English; text in Latin. Taken from the Ms. 410, Corpus Christi College and Ms. 842, Bodleian Library. Bibliography: pp. 152-159.

Thesis (D.M.A.)--Boston University

Thesis (M.M.)--Boston University. Missing page 28 in numbering only.

<p> Afro-Brazilian guitarist-composer Baden Powell de Aquino (1937-2000), one of Brazil's earliest and most successful international musicians, is renowned for his inexplicable rhythmic style. This is especially true in the context of instrumental samba, or samba-jazz, which emerged in the late-night music clubs of 1950s-60s Rio de Janeiro. Samba-jazz engages a set of normative expectations: (1) a theme-and-variations performance involving a (2) cyclic scheme of regular and even chord changes comprising (3) a form of often 16 or 32 bars traditionally conceived of as being in duple meter (e.g. 2/4), where (4) improvised variations track the chord changes of the form. Against this recursively even, duple-meter background, Baden's chord-melodic improvisations frequently foreground dotted or asymmetrical rhythms that, in their interaction with the duple frame, suggest uneven periodicities. This study argues that such uneven regularities can, under certain conditions, be defined as metric and as such can be treated as participating in generalized hemiolas of the background form's meter. This two-fold expansion of meter and hemiola leads to the discovery of a much larger and more variegated abstract space constituted by the even and uneven metric possibilities for a given span of musical time. </p><p> This dissertation consists in two complementary projects. The theoretical project expands current theories of meter, hemiola, and metric space, as most recently defined by Richard Cohn (2018), to incorporate Justin London's (2012) theory of non-isochronous meters. The analytical project explores the richness of Baden's rhythmic art&ndash;it's metric implications and relationship to tropes of samba-jazz. </p><p> Through an exploratory analysis of "&Eacute; de lei," Chapter 1 shows why we should and how we can expand current meter theory, while introducing the reader to Baden Powell and his musical context of Brazilian samba and samba-jazz. Chapter 2 is a formal exposition of the expanded theory of meter, hemiola, and metric space. Using the language and representations of mathematical set and graph theories, it builds analogous (to Cohn 2001) analytical models of hemiola and metric space from the ground up upon an expanded and revised definition of meter that allows for both isochrony and well-formed non-isochrony. Through a series of shorter examples, including passages from "Tristeza," "A lenda do Abaet&eacute;," and "Canto de Xang&ocirc;," Chapter 3 defines, contextualizes, and analyzes four of the most prevalent rhythmic tropes of samba-jazz, while building some basic familiarity with the method of the analytical model. Chapter 4 considers larger examples organized around the idea of harmonic quantization, including extended improvisations from "Samba triste," "Conversa de poeta," and "O barquinho." It seeks to understand the metric implications of how Baden in theme-and-variations form can simultaneously support the 2/4 bar-to-bar chord changes required by the harmonic form of the theme while soloing with long extensions of dotted chord-melodies. Chapters 3 and 4 gradually increase the tempo and scope of analysis&ndash;from a few bars to entire form variations. Chapter 5 analyzes an entire recording, the afro-samba "Candombl&eacute;," principally asking how metric change and hemiola influence our perception of musical form, especially in the absence of more traditional form-defining parameters.</p><p>

<p> <i> Ondo</i> was written for my grandmother&rsquo;s 88th birthday. The composition comprises six sections based on a popular folksong, called &ldquo;<i>Tanko-Bushi</i>,&rdquo; which can be heard in every Japanese town during the <i>Bon</i> festival. Obon is a holiday in August, when we return home once a year to pay respect to our elders and ancestors. &ldquo;<i>Tanko-Bushi</i>&rdquo; became popular in Japan around the end of the Second World War and was based on a popular song from the early part of the twentieth century, around the time my grandmother was born, and has taken many forms since; it continues to do so under varied contexts and the versions I encountered there as a child, while attending the summer festivals with her, would have been but a small sample of these. As I worked on <i>Ondo</i>, I tried to imagine what it might have been like to live through all of the changes that took place in Japan over the past century. I think of the composition as a commentary on the westernization that has been taking place there and on the orientalization of Japanese identity&mdash;as an act of harmonizing disparate values. Between and within the sections, I explore varying degrees of fragmentation as they relate to, or disrupt, unifying threads that run through the four main sections (1, 3, 5 and 6). Above all, I wanted the piece to be enjoyable for my grandmother to listen to. The Saint Paul Chamber Orchestra gave a reading of the four main sections of <i> Ondo</i> on 28 January 2011 at the SPCO Center in Saint Paul, MN. Subsequent to the reading, two interludes (sections 2 and 4) were added as contrasting materials and as expansions upon the relationships explored between the diverse approaches to formal considerations in the piece.</p><p>