Diss.--Köln, 1995. / Bibliogr. p. 709-727. Chronologie. Index.

This recital seeks to explore the various ways in which Eastern-European composers have utilized traditional folk-music as inspiration for their works. The programing focuses on several techniques used as a means for synthesizing folk-songs and art-music, ranging from setting preexisting melodies to accompaniment, to manipulating the idiomatic musical and linguistic features of folk-music as the basis for one���s musical language. In addition, this recital reveals the wide range of styles and genres, including neoclassicism, expressionism, and polytonality, that can be derived from Eastern-European folk-songs. In this regard, the program itself highlights the relevance of folk-music as a viable source of inspiration for artistic expression. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

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O advento das inovações artísticas do século XX vislumbrou maneiras renovadoras de articular aspectos composicionais, ganhando assim novas possibilidades instigantes e exigindo do criador de arte a procura de métodos para solucionar problemas arquiteturais novos. Ao lidar com obras de caráter complexo, o iniciante pode se ver em um \"Cul-de-sac\", remoendo-se entre a escrita criativa contemporânea e a escrita efetiva tradicional. Propondo visualizar esses problemas parcialmente, o espectro da minha pesquisa abarcará, contando com exemplos de análise da peça escolhida, \"Musique Funèbre\", ao menos os seguintes tópicos: polifonia pós-tonal; clareza das vozes (ou a dispensa da mesma) em meio a texturas complexas; \"part-writing\" (ou a dispensa da mesma) entre acordes complexos; fraseologia e microrrelações formais entre frases em meio a uma polifonia de harmonia não trivial; inovações das texturas e suas consequências; e, em adição, uma análise harmônica da linguagem do compositor selecionado, não necessariamente reconhecida e difundida por importantes publicações. Os resultados esperados se apresentarão na forma de uma dissertação analítica debruçada sob a temática proposta, em conjunto à produção composicional do autor. Em particular, foram desenvolvidos dois métodos de análise que são aplicáveis a uma grande quantidade de repertórios variados, embora não necessariamente servindo a todos os gêneros possíveis. Eles foram batizados na seção de \"Metodologia\" por \"Método dos Caminhos Especulativos\" e \"Método das Variáveis Sintéticas\", e são explicados brevemente, quando referidos. Esta pesquisa adquire forte apoio acadêmico por se tratar de uma expansão logicamente seguida do trabalho de Iniciação Científica desenvolvido na Graduação do autor em \"Análise de Obras de Béla Bartók com ênfase aos processos contrapontísticos\", sob a orientação do Prof. Dr. Silvio Ferraz no departamento de música da ECA/USP. / The coming of artistic innovations in the Twentieth-Century Music has given a glimpse of renovating manners to articulate compositional aspects, achieving thus new instigating possibilities and requiring creators to search architectural problem-solving methods. In dealing with works of complex character, the beginner might get in a \"Cul-de-sac\", mulling between contemporary creative writing and effective traditional writing. Proposing to visualize these problems partially, the spectrum of my research will include, with examples of analysis of the selected piece, \"Musique Funèbre\", at least the following topics: post-tonal polyphony; clarity of voicing (or its denial) amidst complex textures; \"part-writing\" (or its denial) among complex chords; formal phraseology and micro-relations between phrases inside a harmonically-nontrivial polyphony; textural innovations and its dismemberments; and also, in addition, the harmonic analysis of the selected composer, not necessarily well-known and diffused by important publishings. The expected results will be presented in the form of an analytical dissertation addressed under the proposed theme, in conjunction to the compositional production of the author. Particularly, two methods of analysis were developed with applicability to a great extent of varied repertoire, even though not necessarily fitting all possible genders. They were named in the \"Methodology\" section as \"Speculative-Paths Method\" and \"Synthetic-Variables Method\", and get briefly explained, when referred to. This research acquires strong academic support for being a logically-followed expansion by the work of \"Scientific Initiation\" during the author\'s Under-graduation program about \"Analysis of Works of Béla Bartók with emphasis to the contrapuntal processes\", under orientation by Prof. Dr. Silvio Ferraz, in the music department of ECA/USP.

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"October 2003." / Includes bibliographical references / 592 leaves. : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Chiefly in English; some Polish text in pt. B. / Comprises three types of material: composition (pt. A); performance (pt. C); and, musicology (pt. B.), and is intended to reflect the author's professional activities as composer, pianist and writer. The various writings and texts all relate to the life and music of Witold Lutoslawski (1993-2003). Earlier publications have been excluded because they are referred to (and reflected in) the author's thesis: Pitch organisation in the music of Witold Lutoslawski since 1979 (Thesis (Ph.D.)--University of Leeds, 1992) / Thesis (D.Mus.)--University of Adelaide, Elder School of Music, 2004?

Despite a widely held view that serialism is incompatible with jazz improvisation, there are many instances of jazz musicians successfully engaging with this concept. This conflict seems likely to have arisen from differing interpretations of ‘serialism’; however, the question of how a jazz improviser’s approach to serialism might, or perhaps should, differ from a classical composer’s, has been left unasked. In addition, most attempts at the use of serialism within improvisation remain undocumented by the musicians concerned. The chord stranding techniques of Lutoslawski are less well known and less controversial than serialism. Connections between Lutoslawski’s twelve-note chords and traditional twelve-note rows are obvious, as are connections between the concept of harmonic ‘strands’ and the jazz harmonic device of superimposition. The possibilities for use of Lutoslawski’s ideas within a jazz context are interesting and worthy of consideration. This research project involves the composition and performance of jazz pieces applying serialism and chord stranding, as well as the exploration of precedents for these ideas within the jazz tradition. The four CD recordings within this thesis present the initial development of these concepts (CDs 1 and 2); an exploration of serialism in the music of John Coltrane (CD 3); and an album of original material demonstrating the integrated application of these concepts (CD 4). The exegesis describes the broader context of this project and examines the relevant music theory concepts. It uses analysis of transcriptions to show the specific application of techniques. The key outcomes from this research are (i) the development and (ii) the demonstration of techniques for pitch organisation based on serialism and chord stranding that are appropriate for jazz improvisation. The recordings and exegesis show the successful integration of these techniques with existing melodic and harmonic ideas familiar to jazz musicians. It is argued that the approach to jazz improvisation explored within this research represents a novel and radical reinterpretation of the traditional concept of serialism and that this approach is helpful when considering the effective use of serialism in a jazz context. From a broader perspective, this research offers a case study of an improviser grappling with the challenges of synthesis and stylistic integrity and, as such, it has the potential to inform contemporary debates concerning tradition and innovation within jazz. / v. 1 Exegesis -- v. 2 CD Recordings: CD1. Serialism concept development ; CD2. Chord stranding concept development ; CD3. Chris Martin Trio play A love supreme ; CD4. Triptych, 1+1=1 / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1341787 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Despite a widely held view that serialism is incompatible with jazz improvisation, there are many instances of jazz musicians successfully engaging with this concept. This conflict seems likely to have arisen from differing interpretations of ‘serialism’; however, the question of how a jazz improviser’s approach to serialism might, or perhaps should, differ from a classical composer’s, has been left unasked. In addition, most attempts at the use of serialism within improvisation remain undocumented by the musicians concerned. The chord stranding techniques of Lutoslawski are less well known and less controversial than serialism. Connections between Lutoslawski’s twelve-note chords and traditional twelve-note rows are obvious, as are connections between the concept of harmonic ‘strands’ and the jazz harmonic device of superimposition. The possibilities for use of Lutoslawski’s ideas within a jazz context are interesting and worthy of consideration. This research project involves the composition and performance of jazz pieces applying serialism and chord stranding, as well as the exploration of precedents for these ideas within the jazz tradition. The four CD recordings within this thesis present the initial development of these concepts (CDs 1 and 2); an exploration of serialism in the music of John Coltrane (CD 3); and an album of original material demonstrating the integrated application of these concepts (CD 4). The exegesis describes the broader context of this project and examines the relevant music theory concepts. It uses analysis of transcriptions to show the specific application of techniques. The key outcomes from this research are (i) the development and (ii) the demonstration of techniques for pitch organisation based on serialism and chord stranding that are appropriate for jazz improvisation. The recordings and exegesis show the successful integration of these techniques with existing melodic and harmonic ideas familiar to jazz musicians. It is argued that the approach to jazz improvisation explored within this research represents a novel and radical reinterpretation of the traditional concept of serialism and that this approach is helpful when considering the effective use of serialism in a jazz context. From a broader perspective, this research offers a case study of an improviser grappling with the challenges of synthesis and stylistic integrity and, as such, it has the potential to inform contemporary debates concerning tradition and innovation within jazz. / v. 1 Exegesis -- v. 2 CD Recordings: CD1. Serialism concept development ; CD2. Chord stranding concept development ; CD3. Chris Martin Trio play A love supreme ; CD4. Triptych, 1+1=1 / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1341787 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Forgotten Lyres is a musical response to Percy Bysshe Shelley's poem Mutability, which depicts the fragility and unpredictable nature of human life. Four independent chamber ensembles make up the performing forces of Forgotten Lyres; the musicians evoke the topics of Shelley's text as they interact and coordinate with one another according to a variety of paradigms and without the use of a conductor. This essay focuses on the approaches to coordination within and between ensembles, and the ways in which the musicians' interactions can evoke and convey Shelley's texts. The essay also examines works by Mel Powell, Toru Takemitsu, Witold Lutoslawski, and Pierre Boulez as examples and precursors for the coordination strategies employed in Forgotten Lyres.

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