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Tonality during the common-practice era carried conventions that ultimately manifested formal schemas. Post-tonal composers’ diverging treatment of form escapes the generality of such schemas, and the relative lack of formal methodology for post-tonal music has left a considerable gap in the literature. When writers do discuss form in post-tonal music, the discourse generally focuses on form within a single composition, a single composer’s output, or at best a narrow school of musical style or philosophy. This thesis posits a concept that I call formal synthesis as a basic principle of form applicable to a broad range of musical styles, genres, and eras. Formal synthesis is a process that combines two or more previous musical passages into one musical passage. This organizational principle covers a broad spectrum of formal possibilities, varying by formal function, structural level, and method. In chapter one, I summarize previous discussions of form in post-tonal music and define the categorizations of formal synthesis. The following chapters refine the concept of formal synthesis through analyses of Steve Reich’s Drumming, Béla Bartók’s Piano Suite op. 14, and Thomas Adès’ Asyla. These composers belong to three different generations and nationalities, and the pieces belong to distinct styles and genres.

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Post-tonal repertoire can prove to be a challenging musical endeavor for performers and listeners alike. However, that does not mean that performers should avoid programming this music. If musicians undertake new repertoire with an open mind and a willingness to discover new avenues of musical expression, it creates a fulfilling experience for both the performers and the audience. Where performers are uncertain of how to proceed, musical and textual analysis can help them understand a piece’s structure and engage with audiences on a deeper level. Using George Crumb’s Ancient Voices of Children, I will analyze elements of the cycle that are salient to performers with the goal of creating a compelling, cohesive narrative for audiences. For those who are new to post-tonal repertoire, Crumb’s compositions offer an ideal opportunity for musicians to employ analysis as a tool for guiding performance choices. The musical structure of Crumb’s compositions is easily discernible when analyzed and is often deeply symbolic and spiritual in nature. His music, while meticulously notated, presents ample opportunity for individual interpretation and expression. Since its premiere in 1970, Ancient Voices of Children has become one of Crumb’s most celebrated pieces, largely due to his incredibly expressive setting of the poetry of Federico García Lorca. After a brief overview of both the composer and poet, I will explore the textual content, pitch content, melodic contour, harmonic structure, ensemble, and rhythm to provide performers with a clearer understanding of the work. This paper further investigates the relationship between Federico García Lorca’s poetry and George Crumb’s music and offers performance suggestions to convey that narrative. In outlining this process through Crumb’s Ancient Voices of Children, this paper gives performers a guide to approaching post-tonal music and making it accessible to a broader audience. / Music Performance

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This study examines phrase and larger formal structures in the first movement of Leo Brouwer’s Elegio de la Danza (1964), a work that draws on tonal and post-tonal traditions. By adapting key features of the tonal motive, as described by Douglass Green, and the tonal period, as proposed by Green and William Caplin, the model seeks to provide a tool for the discussion of phrases and larger forms in Brouwer’s work. An analysis of primary parameters, such as melody, harmony, and rhythm, provides the means to discuss how the composer articulates beginnings and endings of statements and responses, which are then grouped into antecedent and consequent phrases. These periods articulate large-scale sections, which outline a ternary formal design. Secondary parameters (dynamics, tempo markings, instrumental markings) further contribute to the identification of formal structures in Brouwer’s work.

This study examines phrase and larger formal structures in the first movement of Leo Brouwer’s Elegio de la Danza (1964), a work that draws on tonal and post-tonal traditions. By adapting key features of the tonal motive, as described by Douglass Green, and the tonal period, as proposed by Green and William Caplin, the model seeks to provide a tool for the discussion of phrases and larger forms in Brouwer’s work. An analysis of primary parameters, such as melody, harmony, and rhythm, provides the means to discuss how the composer articulates beginnings and endings of statements and responses, which are then grouped into antecedent and consequent phrases. These periods articulate large-scale sections, which outline a ternary formal design. Secondary parameters (dynamics, tempo markings, instrumental markings) further contribute to the identification of formal structures in Brouwer’s work.

93 f.:il / Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-15T14:58:47Z No. of bitstreams: 1 Dissertacao Hermilo Santana.pdf: 1778400 bytes, checksum: fabab17efb01dbd37bb775b1ecc332a1 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-22T14:03:10Z (GMT) No. of bitstreams: 1 Dissertacao Hermilo Santana.pdf: 1778400 bytes, checksum: fabab17efb01dbd37bb775b1ecc332a1 (MD5) / Made available in DSpace on 2013-03-22T14:03:10Z (GMT). No. of bitstreams: 1 Dissertacao Hermilo Santana.pdf: 1778400 bytes, checksum: fabab17efb01dbd37bb775b1ecc332a1 (MD5) Previous issue date: 2010 / Essa dissertação é resultado de uma pesquisa orientada que teve como objetivo principal realizar uma composição musical e sua respectiva análise. A composição, denominada Na noite, compreende três partes e foi inspirada no poema homônimo de Antonio Brasileiro, autor nascido em Rui Barbosa, Bahia, em 1944. Trata-se de poeta que, em meados da década de 1960, estudou Percussão em curso livre desta Escola de Música, tocou na Orquestra Sinfônica da UFBA e teve poemas de sua autoria musicados por, entre outros, Ernst Widmer e Jamary Oliveira. A composição que se criou é um poema sinfônico estruturado pela Teoria Pós-tonal e sua partitura completa está inclusa. Neste trabalho, há uma contextualização teórica sobre o poema sinfônico, a análise do poema “Na noite” e os procedimentos composicionais da peça. / Salvador

Este trabalho apresenta um estudo analítico dos elementos melódicos e gestuais presentes em Notas Soltas (1978) para flauta transversal solo e Notas Irresponsáveis (1986/87) para trio de flautas transversais de Bruno Kiefer. O livro Introduction to Post-Tonal Theory de Joseph Straus é utilizado como referencial teórico para a abordagem melódica. Buscamos identificar quais são os padrões de escrita empregados pelo compositor e procurar relações entre as duas peças. Utilizamos o catálogo de Gestos Musicais apresentados por Luciane Cardassi em A música de Bruno Kiefer : "terra", "vento", "horizonte" e a poesia de Carlos Nejar. Através dos resultados dessas análises, procuramos entender como se dá a escrita idiomática do compositor, bem como encontrar traços em comum entre repertório escolhido para essa pesquisa e obras de Kiefer investigadas por outros autores. / The purpose of this work is to present an analytical study of the melodic elements and gestures in Bruno Kiefer’s pieces entitled Notas Soltas (1978) for solo flute and Notas Irresponsáveis (1986/87) for flute trio. The theoretical framework for the melodic approach is based on Joseph Straus’ Introduction to Post-Tonal Theory. The aim has been to identify the musical patterns employed by the composer and their relationship in both works. The catalogue of Musical Gestures compiled by Luciane Cardassi in A música de Bruno Kiefer: "terra", "vento", "horizonte" e a poesia de Carlos Nejar was also used. Through the analyses of these two works it was possible to understand the idiomatic character of Kiefer’s style, while finding common traces in other works by the same composer.