This thesis proposes a new concept of form for Boris Blacher's Divertimento for Woodwinds, Duet for Flute and Piano, and Quintet for Flute, Oboe, Violin, Viola, and Violoncello. In 1950, Blacher began to use systematically varying metric units to provide logic to the apparently arbitrary rhythm of modern music. This practice led the few scholars who have studied his compositions to concentrate on the mathematical organization of metrical units, underestimating other musical elements. This dissertation is based on the idea that it is not the mere disposition of meters, but mostly the interaction between them and other musical elements that makes the peculiar durational scheme audible, thus perceptually relevant. Following this, the technique of expansion and contraction that becomes evident in the organization of the meters is also present in the disposition of durations at other hierarchical levels and in the pitch structure. Furthermore, the mathematical metrical scheme is the foundation for a deeper universe of systematic organization. Blacher's techniques provide a unique sense of movement to his compositions, the aural effect of an "elastically developing music." In Duet and Quintet, this idea is also applied in simultaneity to the registral disposition of pitches and textural development, suggesting vertical elasticity. As a result, Blacher's late compositions suggest a replacement of the traditional concepts of form and texture with a new idea of constantly moving, elastic shape. The methodological approach of this thesis is exclusively analytical and technical, with emphasis on durational and pitch organization, form, texture, and the interaction among these aspects. The individual and comparative analysis of the three compositions reveals a consistent conception of the musical space that emphasizes its bi-dimensional quality. In the Divertimento, the unitary conception of the vertical and horizontal construction is mainly reflected in the bi-dimensional treatment of interval classes that provides coherence to the motivic structure. In Duet and Quintet, this mere idea of consistent organization of the musical materials in the horizontal and vertical dimensions of the total space becomes a unique principle of formal definition, the elastic development of the musical content itself.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-11-17T15:59:27Z No. of bitstreams: 2 Dissertação - Roberto Wagner Milet - 2013.pdf: 17434513 bytes, checksum: 0ee0963d0e5595b4ddbde4ce3aafe57f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2014-11-17T18:39:32Z (GMT) No. of bitstreams: 2 Dissertação - Roberto Wagner Milet - 2013.pdf: 17434513 bytes, checksum: 0ee0963d0e5595b4ddbde4ce3aafe57f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-11-17T18:39:32Z (GMT). No. of bitstreams: 2 Dissertação - Roberto Wagner Milet - 2013.pdf: 17434513 bytes, checksum: 0ee0963d0e5595b4ddbde4ce3aafe57f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-05-29 / The present work is a study on the relationship in music for brass quintet and percussion Charanga Jazz Mambo by Pedro Rodrigues Carneiro, focusing on expressive accents, specifically in the diction used by brass players. Based on the analogy developed by Harnoncourt (1998) between the onset of sound and speech, as well as, the historical changes of attitude in relation to composers writing detailed the score, the research points to the development of instrumental technique, exposing the model standard quintet metals, their variations as well as collaboration in the drafting, interpretation and dissemination of the piece contained in this work. As a source of information about the author, still unknown in academia, we present a brief biography of the composer. Expressive elements such as tempo and articulation, are explained in the description of the work, focusing attention on expressive accents, suggesting the phonemes “TA” or “DA” depending on the nature harder or softer, respectively, from the beginning of each note. / O presente trabalho é um estudo sobre a articulação na música para quinteto de metais e percussão Charanga Jazz Mambo de Pedro Rodrigues Carneiro, com foco nos acentos expressivos, especificamente na dicção utilizada pelos instrumentistas de metais. Partindo da analogia desenvolvida por Harnoncourt (1998) entre a maneira como o som é iniciado e a fala, bem como das mudanças históricas da atitude de compositores em relação à escrita minuciosa da partitura, a pesquisa aponta o desenvolvimento da técnica instrumental como um dos responsáveis pelo surgimento de conjuntos de sopro, expondo o modelo padrão de quinteto de metais, suas variações, bem como a colaboração na elaboração e interpretação da obra constante deste trabalho. Como fonte de informações sobre o autor, ainda desconhecido no meio acadêmico, é apresentada uma sucinta biografia. A articulação é explicitada na descrição da obra, concentrando a atenção na dicção, ao sugerir os fonemas “TA” ou “DA” conforme a natureza mais dura ou mais suave, respectivamente, do começo de cada nota, relacionando-os às especificidades do mambo, como a moña, o tumbao, o montuno e principalmente a clave.

A stylistic analysis of John Stevens' second brass quintet, Fabrics, which discusses the composer's use of orchestration, harmonic language, rhythmic activity, melodic and formal considerations, and performance practice issues. Collaboration between composer and performer is investigated, particularly through Stevens' status as member of the Wisconsin Brass Quintet, the ensemble for which Fabrics was composed. Biographical information about Stevens and the Wisconsin Brass Quintet is provided, with appendices providing information regarding Stevens' activities as composer and performer and the activities of the Wisconsin Brass Quintet. Stevens was extensively interviewed as source material for this dissertation.

O objetivo desta dissertação é descrever os processos graduais utilizados por György Ligeti na composição de sua obra Dez peças para quinteto de sopros (1968). Através dessa descrição, pretende-se pôr em evidência a gradação como uma ferramenta importante na construção da linguagem utilizada na obra. A análise das Dez peças é abordada em relação a diferentes parâmetros ou aspectos do discurso musical: movimento das vozes, harmonia, timbre, densidade, estrutura rítmica. São observadas as transformações mínimas dos materiais, os movimentos das alturas por proximidade ou contigüidade, bem como os processos de adição presentes no tratamento dos diferentes elementos. Este estudo demonstra que o procedimento das transformações progressivas não é utilizado por Ligeti de maneira linear. A idéia de gradação deve ser entendida com certa flexibilidade e não de um modo literal. Os movimentos por passos literalmente graduais existem, porém, geralmente são parte de um processo que procura dissimular essa linearidade. / The main goal of this dissertation is to describe the gradual processes used by György Ligeti in its work Ten pieces for wind quintet (1968). Through this description we try to put in evidence the gradual processes as an important tool in the construction of the Ten pieces language. The analysis of the Ten pieces considers different parameters or aspects of the composition: melodic motion, harmony, timbre, density, rhythmic structure. We also observe minimal transformations of materials, movements of pitches by proximity or contiguity and treatment of different elements by addition. This study demonstrates that the procedure of progressive transformations is not used by Ligeti in a linear form. The gradual processes must be understood in a flexible way. The motion generated by literal gradual steps exist, but generally they are part of a process that attempts to dissimulate this linearity.

O objetivo desta dissertação é descrever os processos graduais utilizados por György Ligeti na composição de sua obra Dez peças para quinteto de sopros (1968). Através dessa descrição, pretende-se pôr em evidência a gradação como uma ferramenta importante na construção da linguagem utilizada na obra. A análise das Dez peças é abordada em relação a diferentes parâmetros ou aspectos do discurso musical: movimento das vozes, harmonia, timbre, densidade, estrutura rítmica. São observadas as transformações mínimas dos materiais, os movimentos das alturas por proximidade ou contigüidade, bem como os processos de adição presentes no tratamento dos diferentes elementos. Este estudo demonstra que o procedimento das transformações progressivas não é utilizado por Ligeti de maneira linear. A idéia de gradação deve ser entendida com certa flexibilidade e não de um modo literal. Os movimentos por passos literalmente graduais existem, porém, geralmente são parte de um processo que procura dissimular essa linearidade. / The main goal of this dissertation is to describe the gradual processes used by György Ligeti in its work Ten pieces for wind quintet (1968). Through this description we try to put in evidence the gradual processes as an important tool in the construction of the Ten pieces language. The analysis of the Ten pieces considers different parameters or aspects of the composition: melodic motion, harmony, timbre, density, rhythmic structure. We also observe minimal transformations of materials, movements of pitches by proximity or contiguity and treatment of different elements by addition. This study demonstrates that the procedure of progressive transformations is not used by Ligeti in a linear form. The gradual processes must be understood in a flexible way. The motion generated by literal gradual steps exist, but generally they are part of a process that attempts to dissimulate this linearity.

A spectroscopic analysis of 10 intergalactic star-forming objects (ISFOs) and a photometric analysis of 67 ISFOs in a sample of 14 interacting systems is presented. The majority of the ISFOs have relative polycyclic aromatic hydrocarbon (PAH) band strengths similar to those of nearby spiral and starburst galaxies. In contrast to what is observed in blue compact dwarfs (BCDs) and local giant H II regions in the Milky Way (NGC 3603) and the Magellanic Clouds (30 Doradus and N 66), the relative PAH band strengths in ISFOs correspond to models with a significant PAH ion fraction (<50%) and bright emission from large PAHs (∼100 carbon atoms). The [Ne III]/[Ne II] and [S IV]/[S III] line flux ratios indicate moderate levels of excitation with an interstellar radiation field that is harder than the majority of the Spitzer Infrared Nearby Galaxies Survey and starburst galaxies, but softer than BCDs and local giant H II regions. The ISFO neon line flux ratios are consistent with a burst of star formation ∼6 million years ago. Most of the ISFOs have ∼106 M ⊙ of warm H2 with a likely origin in photo-dissociation regions (PDRs). Infrared Array Camera photometry shows the ISFOs to be bright at 8 μm, with one-third having [4.5]-[8.0] > 3.7, i.e., enhanced non-stellar emission, most likely due to PAHs, relative to normal spirals, dwarf irregulars, and BCD galaxies. The relative strength of the 8 μm emission compared to that at 3.6 μm or 24 μm separates ISFOs from dwarf galaxies in Spitzer two-color diagrams. The infrared power in two-thirds of the ISFOs is dominated by emission from grains in a diffuse interstellar medium. One in six ISFOs have significant emission from PDRs, contributing ∼30%-60% of the total power. ISFOs are young knots of intense star formation.

This paper examines the Quintet in A Minor for Piano and Strings by Florence B. Price (1887-1953). One of Price's latest compositions (with final revisions dated January 21, 1952), the Quintet is a masterful example of what is possible when using a multicultural lens to approach the making of American music. This paper exposes the insufficiency of examining (and assessing) multicultural composers and their works only with traditional Western European analytical views, when an expanded approach is needed to explain many of the non-European musical influences and phenomena. While more complex and challenging, this expanded analytical approach sheds added light and understanding on all compositional techniques used within this work. This analysis of the Quintet in A Minor shows that Price often self-quotes from some of her own earlier works; specifically works from her organ, art song, and symphonic oeuvres. The findings also show that Price's understanding of both Western Classical traditions and African-American musical traditions enabled her to intertwine multiple cultures, creating novel forms that are authentic to the American experience she lived. Price created what she referred to as a "very beautiful and very American" sound.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Le présent mémoire est une analyse de trois pièces musicales composées dans le cadre de ma maîtrise en composition instrumentale. L’analyse se concentrera sur divers points importants pour chacune de ces œuvres et détaillera la structure formelle de chacune. Les œuvres présentées dans ce mémoire sont : 1. Groove, Fanfare & Finale pour quintette de cuivres ; 2. Voyage pour orchestre ; 3. Fantaisie pour piano et orchestre. La composition de ces œuvres s’est révélée être un laboratoire de recherche exceptionnel pour l’élaboration d’un langage musical personnel. Ce langage se caractérise entre autre par des textures hautement contrapuntiques, une économie de moyens, la recherche de transitions efficaces entre diverses idées et un souci d’unité formelle. / This memoir contains a musical analysis of three musical works. These works were composed as part of my master’s degree in instrumental musical composition. The analysis will focus on some important aspects for each of these works, and will detail the structure of each. The works analyzed in this memoir are: 1. Groove, Fanfare & Finale for brass quintet; 2. Voyage for orchestra; 3. Fantasia for piano and orchestra. The composition of these works has provided a tremendous opportunity for me to develop a personal musical style. This style is characterized by highly contrapuntal textures, economy of means, a constant search for efficient transitions between musical ideas and an emphasis on structural unity.

Syncretisms is an original composition scored for flute, oboe, clarinet, horn, bassoon, and marimba (2-mallet minimum, 4 recommended) with an optional percussion part requiring glockenspiel and chimes, and has an approximate duration of 6 min. 45. sec. The composition combines modern western tuning, timbre, and harmonic language with organizational principles identified in music from Southeast Asia (including music from cultures found in Thailand, Cambodia, Malaysia, and Indonesia). The accompanying paper describes each of these organizational principles, drawing on the work of scholars who have performed fieldwork, and describes the way in which each principle was employed in Syncretisms. The conclusion speculates on a method for comparing musical organizational systems cross-culturally.

Max Reger was a prolific composer on the threshold of modernism. The style of his extensive musical output was polarizing among his contemporaries. A criticism of Reger's music is its complex and dense musical structure. Despite writing tonal music, Reger often pushes the boundaries of tonality so far that all sense of formal organization is seemingly imperceptible. In this dissertation, I offer what I observed to be a new way of discerning Reger's motivic relationships and formal structures within and between movements. There are three primary tools and methods I incorporated to make these observations: Schoenberg's developing variation; melodic contour analysis as discussed by Elizabeth West-Marvin and Diana Deutsch; and Janet Schmalfeldt's motivic cyclicism stemming from internal themes. In this dissertation I examine five different musical works by Reger: D minor Piano Quartet, Clarinet Quintet, Piano Concerto, String Quartet, op. 121 and E minor Piano Trio, op. 102. My analysis shows how Reger relies on melodic contours of his motives to connect musical moments across entire movements and entire works with multiple movements. These motives are developed and often mark structurally significant moments providing the organization often perceived as missing in Reger's music.