Thesis (Ph.D.)--McMaster University, 1999. / Includes bibliographical references (leaves 147-156). Also available via World Wide Web.

Thesis (MMusPerf)--University of Melbourne, Victorian College of the Arts, [2005] / Typescript. Includes bibliographical references (leaves 88-92)

Thesis (Ph.D.)--University of Washington, 1998. / Vita. Includes bibliographic references (leaves [144]-146).

Målet med det här arbetet har varit att utmana och utveckla mitt chord melody-spel på gitarr samt mina arrangeringsfärdigheter genom att reharmonisera och arbeta fram olika versioner av utvalda poplåtar. Det har gjorts genom att studera chord melody-arrangemang samt böcker i ämnet. Utifrån de kunskaper jag erfarit har jag arrangerat och spelat in egna chord melody- arrangemang av befintliga poplåtar. Som ett sista steg har jag analyserat vad som händer med poplåtarna när jazzharmonik appliceras i dem. Min önskan är att det här arbetet kan bidra med insikt i arrangering för sologitarr samt visa vilka några av verktygen för reharmonisering är och hur de kan appliceras i olika sammanhang.

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Beginning in the 1970s, and aided by the advancement and an increased prevalence of computers, spectral music emerged as an important development in twentieth century music. Spectral composers, as exemplified by Gérard Grisey and Tristan Murail, took the harmonic spectra of sounds as the fundamental materials of composition. The resulting music placed an emphasis on texture and gradually evolving forms. The generation of composers immediately following the spectralists assimilated their techniques into distinct and varying styles. Finnish composer Kaija Saariaho uses spectral techniques to create an aesthetic that generates form and progression from a sound/noise axis. In her piece Du cristal…à la fumée, a number of pendulum and half-pendulum gestures build up texture and form. The accompanying original composition Axiom Unearthed employs similar pendulum gestures and uses spectral techniques to generate melody and harmony in an aesthetic divergent from traditional spectral pieces.

Orientador(a): Marcos Fernandes Pupo Nogueira / Banca: Luiz Fiaminghi / Banca: Maurício De Bonis / Resumo: O presente trabalho propõe uma abordagem teórica/analítica do conceito e aspectos estruturais de um procedimento explorado por compositores no período barroco conhecido por polifonia latente. Neste período, diversos compositores buscaram expressar uma textura polifônica em uma linha melódica única. Primeiramente, este trabalho consiste em comparar os aspectos estruturais da melodia e polifonia com os da polifonia latente, e em segundo lugar, expor, qualificar e determinar os métodos e estratégias composicionais empregados nas obras analisadas e, assim explicitar aquilo que está latente pela ocultação da multiplicidade de partes em uma linha melódica única, resultando em uma textura polifônica latente. Para o cumprimento dos objetivos propostos adotamos diferentes estudos teóricos, analíticos e históricos, dos quais destacamos Albert Bregman (1994), Alexander Ringer (2001), Allen Forte e Steven Gilbert (1982), Arnold Schoenberg (2001), Ernst Kurth (1991), e Walter Piston (1947), estes autores, entre outros, fundamentaram o desenvolvimento do trabalho e a análise das peças, Presto da Fantasia VII em Mib maior para violino desacompanhado de Telemann, e Allemande da Partita em Lá menor para flauta desacompanhada - BWV 1013 de Bach. Verificamos que a aparente melodia que se apresenta na polifonia latente possui características melódicas e polifônicas diferentes, devido a múltiplas continuidades e unidades que a caracteriza. E que, a organização vertical e horizontal explicita na... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present work proposes a theoretical/analytical approach to the concept and structural aspects of a procedure explored by composers in the baroque period known as latent polyphony. In this period, several composers sought to express a polyphonic texture in a single melodic line. First, this work consists of comparing the structural aspects of melody and polyphony with those of latent polyphony, and secondly, exposing, qualifying and determining the compositional methods and strategies employed in the analyzed works and thus explaining what is hidden by the occultation of the multiplicity of parts in a single melodic line, resulting in a latent polyphonic texture. In order to fulfill the proposed objectives, we adopted different theoretical, analytical and historical studies, such as Albert Bregman (1994), Alexander Ringer (2001), Allen Forte and Steven Gilbert (1982), Arnold Schoenberg (2001), Ernst Kurth, and Walter Piston (1947), these authors, among others, founded the development of the work and the analysis of the pieces, Presto of Fantasia VII in Mib major for unaccompanied violin by Telemann, and Allemande of Partita in A minor for unaccompanied flute - BWV 1013 by Bach. We verified that the apparent melody that displays in the latent polyphony has different melodic and polyphonic characteristics, due to the multiple continuities and units that characterizes it. And that, the explicit vertical and horizontal organization in polyphony is condensed into a single... (Complete abstract click electronic access below) / Mestre

This dissertation is in two unrelated parts: the first part is the Dissertation Essay (p. 1-49) and the second part is the Dissertation Composition (p. 50-178). The Dissertation Essay is an analysis of György Ligeti's Étude 1: Désordre (Disorder) (1985) for piano. In the first part of the essay, there is a short introduction to Ligeti's Piano Etudes, quotations by him, and basic information about the Désordre. In the second part the etude's melodic lines are discussed, with help of figures of the phrases of the melodic lines. The main focus of the composition is in rhythm, which is given consideration in the third and most extensive part. The rhythm is approached from a perspective of different rhythmic levels, also with the help of figures. Finally in the fourth, shifting and form are scrutinized. The last part is followed by Conclusions, Bibliography / Works Cited, and Appendix (Analysis sheets of Désordre). In the analysis sheets of Désordre (Appendix) the etude is approached from the points of view of rhythmic levels of two individual lines, phrasings of these melodic lines, shifting of bar lines (between right and left hands) and overall form. Throughout this essay it is recommended that one follows Appendix. Désordre is a refined combination of systematic and non-systematic music. Ligeti bends, changes and breaks the system along the way. The fine balancing between the order and disorder, is a core idea of the composition. The Dissertation Composition is Velinikka, Concerto for Quarter-tone Accordion and Chamber Orchestra (2008). The composition was commissioned by Gaudeamus Music Week and is dedicated to Veli Kujala. Velinikka, 25-minute work, was premiered on September 1st, 2008 by Veli Kujala, quarter-tone accordion, and Insomnio conducted by Ulrich Pöhl at Muziekgebouw aan 't IJ in Amsterdam. The cadenza of the concerto is improvised or/and composed by the soloist. Cooperation between Veli Kujala and the undersigned has led to an elaboration of a new instrument, the quarter-tone accordion. The most significant difference between the quarter-tone accordion and a standard chromatic button accordion with free-bass system is that the reed blocks inside the accordion are replaced with quarter-tone reed blocks. The quarter-tone reed blocks are able to produce a complete quarter-tone scale of nearly five-octave range. The quarter-tone accordion was invented by Veli Kujala in 2004. The quarter-tone reed blocks were designed by Veli Kujala and built by Pigini, an accordion factory in Italy, in 2006. The tuning system used is quarter-tone equal temperament, in which the scale divides an octave into 24 equal-ratio steps. Today many composers are interested in using micro-intervals. This increases demand for instruments able to produce them. The quarter-tone accordion is one of the answers for this demand.

Karl-Birger Blomdahl (1916-1968) et Ingvar Lidholm (né en 1921) sont deux chefs de file de la musique suédoise moderne. Étudiants à Stockholm, ils forment un cercle d’études connu sous le nom de Groupe du Lundi. Perçus comme des antiromantiques, ils renouvellent la création musicale en plaçant au cœur de leurs intérêts la technique de composition (hantverk), la ligne mélodique et des notions gestaltistes comme l’organisme.À la suite d’une étude concernant ce cadre historique, esthétique et théorique commun, cette thèse propose une analyse détaillée de trente œuvres de Blomdahl et de Lidholm datant des années 1940. Élaborée à partir du contexte esthétique et théorique initial, mais aussi à partir des théories de Schenker et de Meyer, la méthode d’analyse permet de représenter graphiquement et textuellement la cohérence compositionnelle et la dynamique des œuvres. Cette thèse démontre les divergences mélodiques, tonales et organiques essentielles concernant les langages musicaux de Blomdahl et de Lidholm. Elle démontre aussi que les notions de linéarité, de dissonance et de contrepoint revêtent plus de significations dans leurs langages respectifs que celles qui sont initialement évoquées par les textes de l’époque. Finalement, elle met en lumière des éléments esthétiques et compositionnels qui contribuent à donner un élan significatif à la musique moderne en Suède. / Karl-Birger Blomdahl (1916-1968) and Ingvar Lidholm (1921- ) were two leading figures in modern Swedish music. While studying in Stockholm they created a study circle known as the Monday Group. Regarded as anti-romanticists, Blomdahl and Lidholm revitalized musical creation by prioritizing compositional technique (as in hantverk, i.e. craft), melodic line and Gestalt concepts such as organicism.Following a study of this shared historical, aesthetic and theoretical framework, this thesis proposes a detailed analysis of thirty works by Blomdahl and Lidholm, dating from the 1940s. Based on the initial aesthetic and theoretical context and also on the theories of Schenker and Meyer, the analytical method used enables a graphical and textual representation of the compositional coherence and dynamic of the respective works.This thesis establishes the essential melodic, tonal and organic divergences in the musical languages of Blomdahl and Lidholm. Additionally, this thesis shows that the notions of linearity, dissonance and counterpoint have a deeper significance in Blomdahl’s and Lidholm’s respective musical languages than is to be found in many texts dating from this period. Finally, this thesis highlights aesthetic and compositional components that significantly invigorate modern music in Sweden.

 In tone languages, tones, in addition to phonemes, are used to differentiate meanings. The tone of a word changes its meaning. This gives rise to a question regarding vocal music in such languages: does the melodic contour have to depend upon the lexical tones of the text so as to enhance the understanding of the text? This question has motivated a number of studies to examine the relationship between lexical tones and melody in different vocal genres of different tone languages. Yet a satisfactory answer is still missing. While existing studies reveal that the degree of conformity between speech tone and melody varies according to the genre as well as the language, some genres of Cantonese vocal music, such as Cantonese opera and Canto-pop, show a strikingly higher degree of tone-melody correspondence. Taking Canto-pop as the focus, the present study seeks to investigate the principles of tone-melody mapping—the underlying rules which govern the realization and perception of Cantonese speech tones in sung melody. It also seeks to gain a deeper understanding about how the constraints of speech tones affect the text-music interaction and why the preservation of speech tones is particularly prominent in this genre. Drawing insights from musicology, linguistics and psychology, the thesis presents an interdisciplinary research that casts new light on the subject of tone-melody relationship—the relationship between speech tones and sung melody in vocal music. It is found that the correspondence between musical intervals and tonal transitions in Cantonese speech can be crucial to tone perception in sung melody. But there are also occasions where the speech tones are still perceived correctly despite the occurrences of physical tone-melody mismatch, largely on account of the tonal, melodic, syntactic and semantic context. While a misperception of the speech tones may not always necessarily lead to a miscomprehension of the lyrics, it is still an aesthetic requirement for Cantopop to maintain perfect tone-melody mapping. This requirement even has an influence on the creative process of Cantopop. / published_or_final_version / Music / Master / Master of Philosophy