Allen Forte's theory of pitch-class set structure has provided useful tools for discovering structural relationships in atonal music. As valuable as set—theoretic procedures are for composers and analysts, the extent to which set relationships are perceptible by the listener largely remains to be investigated. This study addresses the need for aural-perceptual considerations in analysis, reviews related research in music perception, and poses questions concerning the aural perceptibility of set relationships. Specifically, it describes and presents the results of a computer-assisted experiment in testing the perceptibility of set-equivalency relationships.

This dissertation is comprised of a pair of related compositions, Sadhana (2015) for viola and electronics, and k. tracing (2015), a violin concerto, and a thesis that outlines my approach, detailing the influences and derivation of some of the parameters of these works and my compositional process. I offer a clear approach to working in relative intonation, for which I’ve also developed a small device called the “Maya proportional scale tool.” In this essay, I trace the structure and inner-movement of each work with regard to the derivation of its harmony, melody, rhythm and orchestration.The discussion of Sadhana focuses on the derivation of its harmonies and melodic lines from the influence of a string, as well as the conception of the electronics part and the role electronics play in the formation of the composition, whereas the discussion of k. tracing focuses on the coordinating of many independent instrumental parts, and the adaptation of rhythm and orchestration.

Thesis (D.M.E.)--Indiana University, 2006. / Computer printout. Includes bibliographical references (leaves 127-133) and abstract.

Thesis (Ph. D.)--University of North Texas, 2002. / Includes bibliographical references (p. 302-314).

The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment. / The results indicate that a shift from absolute to relative perception occurs between the ages of 5 and 7. Children younger than six demonstrated limited ability to perform relational tasks such as ordering bells, identifying transposed intervals, and comparing pitches. However, they memorized target pitches better than the older children, matched target tones on the xylophone and sang newly learned songs in their original key more often than did the older children. Older children benefited to a larger extent from the training on relative pitch. Cognitive and spatial abilities were related to absolute pitch development: children who identified pitches better had a more sequential and a less simultaneous way of processing information. Family musical environment seems to have influenced the development of absolute pitch. Implications for the acquisition of absolute pitch are discussed.

No description available.

Thesis (Ph.D.) -- McMaster University, 2002. / Includes bibliographical references (leaves 250-253). Also available via World Wide Web.

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 508-528).

Thesis (M. S.)--Music, Georgia Institute of Technology, 2009. / Committee Chair: Chordia, Parag; Committee Member: Freeman, Jason; Committee Member: Weinberg, Gil.

Thesis (Ph. D.)--University of California, San Diego, 2006. / Vita. Includes bibliographical references (leaves 166-175).