Thesis (Ph. D.)--University of Texas at Austin, 2009. / Title from PDF title page (University of Texas Digital Repository, viewed on Sept. 9, 2009). Vita. Includes bibliographical references.

Thesis (Ph. D.)--Princeton University, 1985. / Includes bibliographical references.

Dissertation (M.Mus(Uitvoerende Kuns))-Universiteit van Pretoria, 2004. / Summary in English and Afrikaans. Includes bibliographical references. Available on the Internet via the World Wide Web.

The notion of harmonic ‘function’ was introduced by Riemann in 1891 to describe aspects of tonal music, but, as musical language evolved, its meaning and application developed beyond the premise of tonality. This study re-evaluates the relevance of harmonic functionality for composers today, through a reassessment of what may constitute functionality in post-tonal music and a practical exploration of the concept in ten new compositions. The general openness of harmonic systems since the 1980s has led composers across a variety of aesthetic standpoints to often combine diverse types of harmonic material in one same piece; this thesis argues that, within such a framework, harmonic functionality is potentially an important instrument of coherence, strength and inventiveness in the musical argument. The first part examines the main terminology, including the notions of ‘harmony’, ‘post-tonality’ and the origin and development of the idea of ‘harmonic functionality’. Several composers and theorists are considered, with a particular focus on Riemann. The second part centres on the ten compositions, particularly on Nachtmusik, with both detailed and large-scale analysis aiming to clarify how each piece informed specific aspects of the study. For the sake of comparison, aspects relating to harmonic functionality in other composers’ work are also discussed, namely in Stravinsky’s Requiem Canticles and Adès’ Polaris and Tevot. It is concluded that harmonic functionality is generally related to formal functions, and that the combined action of pitch and other parameters establishes functional properties very much depending on musical context. Certain elements play a central role in the definition of functionality: 1) sense of direction; 2) recurrence and change; 3) hierarchy; 4) pitch polarity; 5) extra-musical meaning. The creation of harmonic functionality in post-tonal music is a problem which composers often deal with intuitively in their practice, and the notion is still frequently considered in a strictly tonal sense by theorists; through the clarification and discussion of the process in post-tonality, its potential is likely to be more fully explored, both theoretically and practically.

No description available.

No description available.

Wong, Hoi Yan. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

No description available.

Mawson is a piece for computer realized quadraphonic tape, and Mertz is a duo for clarinet and horn. The pieces were written in celebration of the accomplishments of the 1911-1914 Mawson Antartic Expedition. The compositions are totally serialized, with a hexachord derived from Cartesian coordinates of Antartic locations used as source material. This hexachord was rotated and cyclically transformed to control attack, rhythm, pitch, and dynamics.Performance materials can be obtained from the Electronic Systems for Music Syntheses studio at Ball State University. / School of Music

Thesis (M.M.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Includes bibliographical references.