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Thesis (M.A.)--Boston University

555 pages / This study focuses on the development of harmonic vocabulary in Bulgarian music. It analyzes the incorporation of harmony in village music from the 1930s to the 1990s, "wedding music" from the 1970s to 2000, and choral and instrumental arrangements (obrabotki, creations of the socialist period (1944-1989). This study also explains that terms which are frequently applied to Bulgarian music, such as "westernization," "socialist-style arrangements," or "Middle Eastern influence," depict sophisticated networks of codified and non-codified rules for harmonization which to date have not been studied. The dissertation classifies different approaches to harmony in the above mentioned styles and situates them in historical and cultural contexts, examines existing principles for harmonizing and arranging Bulgarian music, and establishes new systems for analysis. It suggests that the harmonic language of the layers of Bulgarian music is based upon systems of rules which can be approached and analyzed using Western music theory. TV1y analysis of harmony in Bulgarian music focuses on representative examples of each style discussed. These selections are taken from the most popular and well-received compositions available in the repertoire. / 10000-01-01

abstract: Despite the wealth of folk music traditions in Portugal and the importance of the clarinet in the music of bandas filarmonicas, it is uncommon to find works featuring the clarinet using Portuguese folk music elements. In the interest of expanding this type of repertoire, three new works were commissioned from three different composers. The resulting works are Seres Imaginarios 3 by Luis Cardoso; Delirio Barroco by Tiago Derrica; and Memória by Pedro Faria Gomes. In an effort to submit these new works for inclusion into mainstream performance literature, the author has recorded these works on compact disc. This document includes interview transcripts with each composer, providing first-person discussion of each composition, as well as detailed biographical information on each composer. To provide context, the author has included a brief discussion on Portuguese folk music, and in particular, the role that the clarinet plays in Portuguese folk music culture. / Dissertation/Thesis / Seres Imaginarios 3 - Movement I - Olhapim (composed by Luis Cardoso) / Seres Imaginarios 3 - Movement II - Jana (composed by Luis Cardoso) / Seres Imaginarios 3 - Movement III - Trasgo (composed by Luis Cardoso) / Delirio Barroco - Movement I - Ouverture (composed by Tiago Derrica) / Delirio Barroco - Movement II - Fantasia (composed by Tiago Derrica) / Delirio Barroco - Movement III - Fuga (composed by Tiago Derrica) / Delirio Barroco - Movement IV - Fantasia 2 (composed by Tiago Derrica) / Delirio Barroco - Movement V - Coral (composed by Tiago Derrica) / Memoria (composed by Pedro Faria Gomes) / D.M.A. Music 2013

The folk tradition has often been divided between two sections: on one side is music,on the other is dance. The aim of this research is to study the relationships between dance and music inside one individual to create a new profile: the dancing musician.The process of this research went through different stages. First of all, I relied on my background as a folk musician and dancer to enable dialogue between these two profiles. Then I went beyond the boundaries of the folk tradition by mixing improvisation and folk music. Finally, I analysed movements, meters and expression of each part in order to combine them and to resolve technical issues of the multitasking process. The present study shows different ways of using this dance-music combination as a creative tool and explains what effects those arts have on each other.

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The influence of Manuel Ponce (1882-1948) in early 20th-century Mexico serves as a precursor to the emerging nationalistic sounds sought after the 1910 revolution. Despite the challenges posed by Mexico's music education system, Ponce's private tutelage enabled him to achieve European standards, marking a significant progress in the broader efforts of 19th-century Mexican musicians to attain proper musical training. Ponce's method of creating an authentic Mexican sound involved reconstructing folklore music, blending it with European styles, and aligning himself with the Indigenismo movement. His compositional trajectory, marked by trips to Europe and distinct musical periods such as Romanticism, Nationalism, and Modernism, reflects adaptation to historical, social, and cultural events. Upon his return to Mexico, he undertook the reform of teaching methods at the conservatory, adapting European approaches to better suit the learning styles of Mexican students. This study examines Ponce's formative experiences, educational background, and early compositions, emphasizing his integration of folk tunes into classical forms and his role in shaping Mexican musical identity. It highlights the efforts of 19th-century Mexican composers to carve a nationalistic sound and Ponce's pivotal role as a bridge between European traditions and the developing nationalistic movement, ultimately contributing to the construction of Mexican cultural hegemony