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Showing 1 to 10 of 13 (0.059 seconds)Spelling suggestions: "subject:"musica ficha"" "subject:"musica dicta""
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Diatonicism and chromaticism in Richard Strauss’ tone-poem Till Eulenspiegels lustige StreicheMac Neil, Patrick January 1981 (has links)
In the first chapter of this thesis I introduce the diatonic-chromatic continuum. It is an analytical device useful in explaining music which exhibits much diversity. In the case of this tone-poem, it is useful to assimilate the many sections within it, those that are straightforwardly diatonic in a traditional sense, those that are so highly chromatic it is sometimes difficult to determine their main and subsidiary keys, as well as those that lie somewhere between these two extremes. As these three section-types are equally characteristic of the work, the diatonic-chromatic continuum serves as a valuable referential concept.
In the second chapter I analyze the above sections noting their main keys, subsidiary keys, and the means by which these keys are established.
In the third chapter I return to the concept of the diatonic-chromatic continuum and discuss several sections analyzed in the second chapter.
I have collected my musical examples together in the Appendix for easier reference. These examples comprise reductions from the tone-poem, simplifications of these reductions I call sketches, and a major example which is a condensation of the entire work.
Finally, my study of Till Eulenspiegels lustige Streiche concentrates on the purely musical and not on the programmatic. / Arts, Faculty of / Music, School of / Graduate
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François Joseph Fétis' theory of chromaticism and early nineteenth-century musicKosar, Anthony Jay, January 1984 (has links)
Thesis (Ph. D.)--Ohio State University, 1984. / Includes bibliographical references (562-565).
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Polychordality in Salome and Elektra a study of the application of reinterpretation technique /Dinerstein, Norman Myron. January 1974 (has links)
Thesis (Ph. D.)--Princeton University, 1974. / Includes bibliographical references (leaves 138-140).
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Respond Motets from Matins for the Dead by Robert ParsonsNosow, Robert Michael 08 1900 (has links)
The three respond motets from Matins for the Dead by Robert Parsons constitute an important part of the sacred Latin repertory of mid-sixteenth-century England, illustrating central features of the English mid-century style. Although he worked within a conservative musical tradition, Parsons experimented with that tradition in personal and individual ways. Specifically his modal and thematic construction as well as his practice of musica ficta are singled out for closer analysis. Consequently, a methodology for editorial decisions concerning musica ficta is developed. Two special problems, the simultaneous cross-relation and diminished fourth, are shown as the result of normative polyphonic processes and vertical structures.
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A Statistical Study of the use of the "Mystic Chord" in the First Four Piano Sonatas of Alexander ScriabineHallmark, Philip R. 08 1900 (has links)
The purpose of this paper is to discover the environmental characteristics of the "Mystic Chord" in the first four Sonatas for Piano by Alexander Scriabine. This paper explores the manner of approach, manner of resolution, harmonic function, position, melodic function, and rhythmic position of the "Mystic Chord".
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Accidentals in the mid-fifteenth century : a computer-aided study of the Buxheim organ book and its concordancesJürgensen, Frauke January 2005 (has links)
The Buxheim Organ Book, the largest fifteenth-century manuscript of keyboard tablature, has never before been examined as a whole in light of musica ficta issues, although it contains far more accidentals than any contemporaneous source in mensural notation. Although tablature has been used by various scholars to examine accidentals in sixteenth-century music, studies of fifteenth-century accidentals have focussed on theoretical evidence and small groups of pieces from mensural sources. The author uses the Buxheim Organ Book to extend the investigations of accidentals in tablature back into the fifteenth century, combining the large data set provided by this manuscript with a statistical approach modelled on that of Thomas Brothers's smaller-scale study of the chansons of Binchois. Specialised computer programs are introduced, which detect musical structures relevant to the analysis of Renaissance music such as different types of cadential voice leading. These programs function as extensions to David Huron's Humdrum Toolkit. With these tools, signing practises in the intabulations are statistically compared with all of the concordances of the models. Conclusions are suggested pertaining to issues of signature accidental transmission, partial signatures, mode, and musica ficta, which can be used as a contextual backdrop for the analysis of individual pieces. The evidence provided by the accidentals in Buxheim and its concordances draws a clear picture of how a group of fifteenth-century musicians added accidentals to polyphonic music. For the first time, this study provides us with principles and guidelines for musica ficta -decisions based on actual practice.
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Accidentals in the mid-fifteenth century : a computer-aided study of the Buxheim organ book and its concordancesJürgensen, Frauke January 2005 (has links)
No description available.
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Theory and Practice in Book 2 of Ugolino's (c. 1380-1457) "Declaratio musicae disciplinae"Turner, Joseph (Joseph Alexander) 08 1900 (has links)
Ugolino (c. 1380-1457) wrote one of the largest treatises on music theory in the first half of the fifteenth century. This work, the "Declaratio musicae disciplinae," is comprised of five books that cover everything a musician of the era would need to know, from plainchant to harmonic proportions, from musica practica to musica speculativa. However, the treatise has received contradictory interpretations by modern scholars, some viewing it as mainly practical, others as mainly theoretical. I argue that in Book 2, which deals with counterpoint, Ugolino crystallizes the relationship between theory and practice, while offering distinctive contrapuntal practices. Ugolino presents a unique view music's place in the structure of knowledge, one which is highly dependent on Aristotelian philosophy. He posits that music is a science and that it is a branch not of mathematics, as it had traditionally been categorized, but of natural philosophy. This viewpoint shapes the entire treatise and is evident in the book on counterpoint. There, he presents an Italian tradition of teaching counterpoint known as the "regola del grado." Ugolino is the first author to present this tradition entirely in Latin. In addition, he offers an unusual description of musica ficta. In it, he presents a diagram, the "duplex manus," that mixes together both musica recta and musica ficta. Ugolino's work suggests that theory and practice, although arranged hierarchically, need not be in conflict, and that a treatise such as his can be both eminently practical and highly theoretical.
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Scriabin: A New Theory of Harmony and StructureMcVay, Michael (Michael Jones) 12 1900 (has links)
The thesis speculates upon the source of Scriabin's pitch selection in several of his atonal works, concluding that Scriabin's "principle" stems from his own "mystic chord," its inversion at the major third, and the transposition of these two chords at the tritone. These four chords share the same invariant harmonic basis, Scriabin's characteristic French-sixth sonority. The quartet of chords combine to form two nine-note scales, each containing as a subset the octatonic scale. The thesis demonstrates how Scriabin composed his works in harmonic blocks, utilizing only the notes from these scales. The thesis traces Scriabin's atonal style back to his tonal period. His fascination with tritone adjacencies and relationships is discussed, and serves to support the theory. Other harmonic and linear theories are discussed. Also, the thesis shows how Scriabin used these scales structurally in his works.
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A Study of Early Sixteenth-Century English Music Fragments from the DIAMM DatabaseHamilton, Elizabeth P.K. 27 September 2011 (has links)
While the study of complete sources is very valuable, and has contributed greatly to what is understood of music history, the perspective they contribute is limited because they cannot reveal information about how music and music sources were most often used. The study of functional sources, more probably created for use, allows for more insight into how music was performed and understood, and how such sources were created, used and valued.
This study examines twelve fragmentary early sixteenth-century English sources from the Digital Image Archive of Medieval Music (DIAMM) database, constituting a sample of functional music sources in this period. The study of this sampling reveals information about how functional manuscripts were created, used and valued in England during this time period. Some of the fragments contain works with concordances. These concordances are compared using variant comparison, where differences in the versions of the work are considered and weighed. The comparative study of concordances provides insight into the transmission of the versions, scribal and performance culture, as well as into music culture in general. Overall, the study of this sampling of early sixteenth-century functional English sources provides a clearer understanding of the use of accidentals, scribes and scribal culture, performers, performance practice and music culture in England at this time, contributing to the understanding of music history.
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