Thesis (D.M.A.)--University of Oklahoma, 1990. / Includes bibliographical references (leaves 321-331).

Thesis (M.S.)--Eastern Illinois University, 2009. / Includes bibliographical references (leaves 32-35).

Thesis--University of Illinois, 1965. / Vita.

Thesis (M.A.)--Bowling Green State University, 2007. / Document formatted into pages; contains [vi], 44 p. Includes bibliographical references.

Thesis (Ph. D.)--Department of Music, Stanford University, 2008. / Includes bibliographical references (leaves 206-212).

The problem of absolute or positive pitch has been studied by a considerable number of researchers. This cannot be said, however, for the problem of the element of tempo, or the normal speed of the true beat in music. The reason for this probably lies in the fact that absolute pitch can be measured quite accurately, for it is dependent upon the anatomy and physiology of the ear. On the other hand, a means whereby the innate pulse in music can be externalized so as to be capable of exact expression and measure in number, presents a challenge to those interested in further investigation of this phenomenon.

The application of phenomenological methods to the analysis of musical time is a recent development in the field of music theory. Phenomenological analyses of music take as their point of departure music as a "heard" phenomenon. This thesis provides a critical survey of the differing ways music theorists have applied phenomenology to the investigation of musical time. After presenting a general overview of the philosophical discipline of phenomenology itself, the thesis considers the work of three theorists, Judy Lochhead, Thomas Clifton, and David Lewin, who adopt a phenomenological approach to issues of time in music. The final chapter considers some approaches to issues of musical time by two theorists, Christopher F. Hasty and Jonathan D. Kramer, who are not explicitly phenomenologists, but whose works are implicitly phenomenological in orientation. / Un dévelopment récent dans le domaine de la théorie musicale est l’application des méthodologies phénomenologiques de l’analyse du temps musical. Une analyse phénomenologique de la musique prend, comme point de départ, la musique comme phénomene “auditif.” Cette thèse fournit une étude critique des diverses façons par lesquelles les théoriciens de lp musique ont appliqué la phénomenologie à l’analyse du temps musicale. Je commence mon étude par une présentation générale de la discipline philosophique de la phénomenologie.et ensuite je considère le travail de trois théoriciens, Judy Lochhead, Thomas Clifton, et David Lewin, qui ont adopté une démarche phénomenologique aux questions du temps dans la musique. Dans le dernier chapitre, je considère certaines études du temps musicale faites par deux autres théoriciens, Christopher F. Hasty et Jonathan D. Kramer. Malgré le fait que ces derniers ne sont pas d’abords des phénomenologistes, certains aspects de leur travail peuvent néanmoins être considérés comme implicitement phénomenologique en caractère.

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Thesis (D.M.A.)--University of Oklahoma, 1994. / Includes bibliographical references. Discography: leaf 233.

Thesis (M.A.)--York University, 2001. / Includes abstract. "MQ-66385"--Fiche header. Includes bibliographical references (leaves 30-40).