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31	Louis Vierne’s Pièces de Fantaisie, Opp. 51, 53, 54, and 55: Influence from Claude Debussy and Standard Nineteenth-Century Practices Lee, Hyun Kyung (Organist) 05 1900 (has links) The purpose of this research is to document how Claude Debussy’s compositional style was used in Louis Vierne’s organ music in the early twentieth century. In addition, this research seeks standard nineteenth-century practices in Vierne’s music. Vierne lived at the same time as Debussy, who largely influenced his music. Nevertheless, his practices were varied on the basis of Vierne’s own musical ideas and development, which were influenced by established nineteenth-century practices. This research focuses on the music of Louis Vierne’s Pièces de fantaisie, Opp. 51, 53, 54, and 55 (1926-1927). In order to examine Debussy’s practices and standard nineteenth-century practices, this project will concentrate on a stylistic analysis that demonstrates innovations in melody, harmony, and mode compared to the existing musical styles. Louis Vierne Organ music Claude Debussy Musical style 19th-century music Nineteenth-century music Musical analysis. Style, Musical. Music -- 19th century. Academic theses
32	Hatten’s theory of musical gesture : an applied logico-deductive analysis of Mozart’s Flute quartet in D, K.285 Scott, Douglas Walter 06 1900 (has links) This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development. / Art History, Visual Arts & Musicology / M. Mus. Musical analysis Musical gesture Mozart Hatten Analytical tableaux Musical meaning Musical parameters Formal system Aural sonology Graphical notation Fractal geometry Logic Musical analysis Music -- Philosophy and aesthetics Style, Musical Quartets (Flute, violin, viola, cello)
33	Hatten’s theory of musical gesture : an applied logico-deductive analysis of Mozart’s Flute quartet in D, K.285 Scott, Douglas Walter 06 1900 (has links) This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development. / Art History, Visual Arts and Musicology / M. Mus. Musical analysis Musical gesture Mozart Hatten Analytical tableaux Musical meaning Musical parameters Formal system Aural sonology Graphical notation Fractal geometry Logic Musical analysis Music -- Philosophy and aesthetics Style, Musical Quartets (Flute, violin, viola, cello)

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