Thesis (Ph. D.)--Princeton University, 1981. / Typescript. "This essay and the Chamber concerto together constitute the dissertation but are otherwise inrelated." Includes the author's Chamber concerto, for flute, clarinet, violin, violoncello, and piano (1 ms. score (73 p.)). Includes bibliographical references (leaf 114).

Thesis (D. Min.)--Western Seminary, Portland, OR, 2008. / Abstract. Includes bibliographical references (leaves 318-329).

Thesis (D.M.A.)--Ohio State University, 2007. / Title from first page of PDF file. Appendix B (p. 103) includes embedded audio file. Appendix C (p. 104) refers to accompanying PDF files. Includes bibliographical references (p. 105-107).

abstract: Many of the works of Dominick Argento have been researched and analyzed, but his choral work Evensong: Of Love and Angels s has received limited attention thus far. Written in memoriam for his wife Carolyn Bailey Argento, Evensong draws its musical material from her initials C.B.A. These letters, translated into note names, form a conspicuous head motive that is present in each movement of the work, and it serves multiple functions: as a melodic feature, as the foundation for a twelve-tone row, and as a harmonic base. This paper provides an overview of the work's conception with specific relation to Argento's biographical details, compositional style, and work habits; a brief review of the critical reception of the work; and a succinct analysis of the form and cyclical materials found in each movement. / Dissertation/Thesis / D.M.A. Music 2011

Diese Arbeit befaßt sich mit der "Klangreihenlehre'', einer Musiktheorie, die von Josef Matthias Hauer aufgestellt und von meinem Lehrer Othmar Steinbauer weiterentwickelt wurde. Diese auf der Gesetzmäßigkeit der zwölf Töne beruhende Satzlehre hat jedoch mit der "Reihentechnik" jener Musik, die schlechthin als "Zwölftonmusik" bezeichnet wird, nichts gemein. Obwohl eine beachtliche Literatur über J.M. Hauer vorliegt, ist sie doch, was Hauers Musiktheorie betrifft, nicht zufriedenstellend, da sie hauptsächlich auf sein Leben und seine Musikphilosophie eingeht.

Abstract Jeanine Rueff ́s Sonata is a dodecaphonic piece for an unaccompanied saxophone. The aim of this thesis is two fold: First I will do an analysis of the Sonata to try to discover if she used some characteristic series (original, inverted, retrograde, inverted-retrograde...) in her style or, otherwise, she wrote free form. Then, I am going to talk about this technique and the evolution from classical music to atonality and, eventually, I am going to perform the piece in my final master recital. Key words: Saxophone, Jeanine Rueff, twelve-tone technique, classical saxophone, analysis, musical research, Daniel Deffayet.

Orientador: Lia Tomás / Banca: Florivaldo Menezes Filho / Banca: Vladimir Pinheiro Safatle / Resumo: Esta dissertação tem como tema a relação entre teoria e prática da técnica dodecafônica em Adorno. Enfoca a crítica efetuada por Adorno à técnica dodecafônica no ensaio Schoenberg e o progresso, as noções de dessensibilização do material e de obra tardia e algumas peças musicais compostas por Adorno em seus anos de exílio na Inglaterra e nos EUA. Pretende com isso mostrar a afinidade existente entre a crítica teórica de Adorno ao dodecafonismo serial mais ortodoxo e o caráter idiossincrático dos procedimentos seriais e da concepção formal presentes em algumas de suas últimas composições. / Abstract: This dissertation has as theme the relationship between theory and practice of the twelve-tone technique in Adorno's work. It focuses the critic made by Adorno to the twelve-tone technique in the essay Schoenberg and the progress, the notions of desensitization of the material and of late work and some musical pieces composed by Adorno in his years of exile in England and in the USA. It intends with that to show the existent likeness among Adorno's theoretical critic to the more orthodox twelve-tone technique and the idiosyncratic character of the serial procedures and of the formal conception present in some of his last compositions. / Mestre

No description available.

Orientador: Maria Lucia Senna Machado Pascoal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T23:26:50Z (GMT). No. of bitstreams: 1 Gado_AdrianoBraz_M.pdf: 3056486 bytes, checksum: a933f5c10e18be7c591f36dfbb5f7576 (MD5) Previous issue date: 2005 / Resumo: Este trabalho tem por objetivo apresentar um estudo de análise em peças de compositores brasileiros que empregaram a técnica de doze sons: Hans Joachim Koellreutter e César Guerra-Peixe. O estudo se justifica por proporcionar o entendimento de obras de relevância histórica no panorama da música do Brasil, porém ainda não exploradas sob o ponto de vista de suas estruturas. A metodologia constou do estudo da história, da teoria e da análise da música no século vinte, das técnicas de análise e das técnicas de composição; da aplicação da análise nas peças, do estudo ao piano e da edição digitalizada das obras manuscritas. A análise está dividida, considerando os aspectos de: motivos e conjuntos; séries e sua utilização; células rítmicas e texturas. A conclusão aponta os processos usados pelos compositores no tratamento original das séries de doze sons e em outras associações de alturas. Com este estudo, espera-se contribuir para maior conhecimento e divulgação da música de compositores brasileiros do século vinte / Abstract: This work aims to present an analysis study of Brazilian composers that have employed the principles of the twelve-tone technique in some of their pieces: Hans Joachim Koellreutter and César Guerra-Peixe. In spite of be part of a relevant historic period in the scenery of Brazil¿s music, this repertory have not been yet explored from the point of view of their structures. The methodology consisted of the study of history, theory and analysis of the twentieth century music; the analysis of the pieces; the study of the pieces at the piano and the realization of the digitalized edition of the manuscripts. The analysis work has considered the following aspects: motives and sets; rows and their application; rhythm cells and textures. The conclusion shows the processes used by composers in an original use of the twelve-tone technique and in other procedures involving different pitch associations. With this dissertation it will be expected more information and spreading of Brazilian composers of the twentieth century music / Mestrado / Mestre em Música

A chamada regra do usus auctoritas, presente na Lei das XII tábuas, é apontada, desde Cujácio (séc. XVI), e daí em diante por muitos juristas, como sendo uma antiga norma sobre a garantia do vendedor por meio de negócio formal, mancipatio em caso de evicção; o próprio sentido do vocábulo auctoritas seria «garantia», ou mesmo «dever de prestar garantia», neste caso particular inseparável da mancipatio. Mas o fragmento que traz essa regra USUS AUCTORITAS FUNDI BIENNIUM EST[O] nos foi transmitido por Cícero e (embora de forma já interpretada) Gaio; e estes a consideram uma espécie de antiga norma a respeito do usucapião (inicialmente apenas de imóveis). Outros juristas antigos e contemporâneos seguiram, em parte, essa interpretação original. O trabalho pretende trazer novos argumentos em favor dessa exegese natural de Cícero e Gaio no sentido de que a dita regra versa sobre usucapião, mais especificamente sobre uma sua forma arcaica e bastante peculiar. Investiga-se o surgimento da propriedade imobiliária em Roma e suas peculiaridades: o sistema augural, quase religioso, de limitação do solo destinado, no início, a todo cidadão romano, conferido por meio de atos de adsignatio (concessão) pelo «estado» em formação, que detinha a auctoritas ou poder; a passagem da soberania das gentes pré-romanas aos Quirites; a gradual privatização a atribuição dessa auctoritas coletiva e diretamente quiritária ao proprietário dessas parcelas de terra e a fragmentação do solo pelo direito privado regulado pela Lei das XII tábuas, que confere autonomia (a auctoritas ou título) aos indíviduos e suas famílias. Acrescenta-se uma breve análise lógica da regra e uma tentativa de a inserir no esquema geral do usucapião moderno. / The usus auctoritas rule from the Twelve Tables was conceived by Jacques Cujas (16th century AD), and many authors thereafter, as an ancient norm that established a warranty against eviction granted by the seller when transferring the ownership of the thing to the buyer through the performance of mancipatio. According to this view, the very word auctoritas is taken to mean warranty, or else to imply an obligation to give warranty, and is intrinsically associated with mancipatio. But the fragment of the sources that state this rule USUS AUCTORITAS FUNDI BIENNIUM EST[O] were brough to us by Cicero and Gaius (the latter in the form of an interpretation of the norm), and both consider it to be an ancient Roman disposition that originally dealt with usucaption of immovable property only. To a certain extent, various ancient and modern jurists accept the latter interpretation. The object of this thesis is to provide new arguments to support the more natural interpretation adopted by Cicero and Gaius, i.e., that the rule in question deals specifically with an archaic and peculiar form of usucapio. The present work analyzes the emergence of private ownership of immovable property in Rome and its peculiarities: the quasi-religious augural system of land apportionment adopted by the fledging Roman state to assign a lot of land to every Roman citizen through the performance of acts of adsignatio (allotment); the sovereignty transferred by the pre-Roman gentes to the Quirites; the process by which land plots were gradually privatized and landowners acquired this once collective and quiritarian auctoritas, and the resulting land apportionment caused by the application of rules of private law based on the Twelve Tables conferring autonomy (auctoritas or title) to individuals and their families. In the final lines, an attempt is made to provide a logical analysis of the rule and to place it within the general conceptual framework of modern usucaption.