The specific problem prompting this investigation is the creation of a method of music criticism. The purposes for the investigation are three in number. First and foremost, the purpose of the investigation is to develop an unrestricted method of music criticism. The development of such a method fulfills the second reason for the investigation. Although Mortimer Adler and the Paideia Group have clearly stated the classes and pedagogy to be utilized in a Paideia curriculum, they have done little to suggest specific class content. This study resolves the content problem for one class. It is recommended that the music masterworks class be treated as a course in music criticism. Through such treatment of the class, students will meet the goals of the Paideia Group and develop the tools for societal reconstruction. Finally, the goal of establishing a method of music criticism harmonious with the educational philosophy of reconstructionism is the end to the previous two "means" purposes.

Orientador: Claudiney Rodrigues Carrasco / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T11:23:14Z (GMT). No. of bitstreams: 1 Freitas_SergioPauloRibeirode_D.pdf: 99460171 bytes, checksum: e7e72fd118735dce6334d35e1483a8de (MD5) Previous issue date: 2010 / Resumo: Harmonia, práticas teóricas e o estudo de planos tonais em música popular Situando a pergunta central - que acorde ponho aqui? - no âmbito das práticas teóricas da harmonia tonal, o presente estudo examina criticamente algumas respostas possíveis procurando perscrutar diferentes motivações, procedências, contextos, concepções, saberes, argumentos e justificativas que, entremeadas, discordantes e concordantes, animam os discursos e as ações de escolha que dão respostas para perguntas como esta. O tom coloquial da questão abrevia um entrelaçado de tópicos que, com diferentes formulações, ramificações, ênfases e abordagens, são mais ou menos recorrentes nos programas pedagógicos, técnicos, teóricos, analíticos, valorativos e artísticos da nossa disciplina. Deste entrelaçado ganha enfoque mais delimitado aqui uma problemática que pode ser enunciada assim: quais são, onde se encontram, no que se fundamentam as escolhas e como se combinam em sucessão os tons vizinhos (áreas tonais, regiões, tonalidades) e acordes principais que, propositadamente dispostos em média e larga escala, referenciando a concordância dos acordes coadjuvantes (meios de preparação) e demais alturas (notas adjacentes, tensões, escalas, modos, etc.), contribuem na efetivação das "funções estruturais" (relações entre a função harmônica e a incumbência formal dos segmentos) numa obra musical harmônica e tonal? A proposição que acompanha esta delimitação é a de que, a arte e ofício de escolher e combinar acordes em planos tonais, em diversas e controversas medidas e das mais variadas maneiras, não se aparta das práticas teóricas que intentam balizar tal conhecimento e competência. E essas relações dinâmicas de vinculação e desvinculação entre os feitos e fazeres da harmonia e os feitos e fazeres da sua teoria são observadas aqui como uma espécie de principal questão transversal. Os Capítulos 1 a 6 cuidam da revisão, da contextualização, do levantamento e cruzamento circunstanciado de referências, do repertório e da memória teórica e poética, do questionamento e discussão a respeito de determinadas abordagens interpretativas sobre assuntos como: os fundamentos diatônicos da tonalidade, a atribuição funcional dos acordes e áreas tonais, a inclusão teórico-normativa de acordes não diatônicos, os meios de preparação alterados e as vizinhanças de terceira que envolvem transformações cromáticas. Os Capítulos 7 e 8 propõem e avaliam um modelo pré-analítico para o estudo comparado de planos tonais complexos. Trata-se de um ferramental para-musical voltado para a experimentação, produção, análise e crítica que visa favorecer a macro-confrontação dos lugares de chegada dispostos em obras tonais que, no cenário da música popular "tortuosa", alcançam seus efeitos contando com a mistura de determinados diatonismos / Abstract: Harmony, theoretical practices and the study of tonal planes in popular music Examining the core question - which chord should I use here? - within the context of theoretical practices of tonal harmony, this study critically examines some potential answers attempting to explore different motivations, origins, contexts, conceptions, knowledge, arguments and justifications that, when intermixed, both discordant and accordant, stimulate argumentation and choice?making to answer these types of questions. The colloquial tone of the issue at hand reveals a web of intertwining topics with different formulations, branches, emphases, and approaches that are somewhat recurrent in the pedagogical, technical, theoretical, analytical, evaluative, and artistic areas of the discipline. From this web structure, the problem takes on a more bounded focus which might be described as follows: what are the possible choices, where are they, and on what criteria are they based, and how are related tonalities (tonal areas, regions) and main chords arranged in succession, which, purposely arranged in mean and large scale and referencing the accordance of the adjunct chords (means of preparation) and other pitches (adjacent notes, tensions, scales, modes, etc.), contribute to the execution of "structural functions" (relationships between harmonic function and the formal role of the segments) in a harmonic and tonal piece of music? The proposition accompanying this delineation is such that the art and the task of choosing and arranging chords in tonal planes in several conflicting measures and in the most varied forms does not depart from theoretical practices that attempt to define such knowledge and competence. These dynamic relationships of binding and unbinding between acts and actions of harmony and acts and actions according to the theory are considered a central issue. Chapters 1 through 6 deal with review, contextualization, identification, and detailed comparison of references; repertoire and theoretical and poetic memory; questioning and discussion regarding certain interpretative approaches on such subjects as: the diatonic basis of tonality, the functional attribution of chords and tonal areas, the inclusion of theoretical?normative non?diatonic chords, the altered means of preparation and third relations that involve chromatic transformations. Chapters 7 and 8 propose and evaluate a pre-analytical model for the comparative study of complex tonal planes. This deals with a para-musical tool aimed at experimentation, production, analysis, and review, which attempts to support the macro confrontation of final locations arranged in tonal works that, within the context of "tortuous" popular music, achieve their results by mixing certain diatonicisms / Doutorado / Fundamentos Teoricos / Doutor em Música

Plus connu comme ethnologue que comme musicologue, André Schaeffner (1895-1980) a adopté, dans ses travaux sur la musique savante, une position contraire à un type de critique prétendument « objective », qui se voudrait neutre face à l’œuvre d’art. Il y revendique le droit à une « critique d’admiration », ne cachant pas ses préférences personnelles. La démarche de Schaeffner se caractérise par l’absence d’une « vision téléologique de l’histoire de la musique » ou de tout esprit de système, et par l’importance accordée à la mise en perspective historique et esthétique, à la contextualisation de l’œuvre du compositeur. Cette vision de la critique a été fréquemment dénoncée comme péchant par l’absence de tout jugement. En reconstruisant l’ensemble des circonstances qui entourent les événements auxquels il s’intéresse, en collectant et en soumettant à un examen attentif les documents qui y ont trait, Schaeffner remet en question des idées reçues, des clichés autour desquels flotte une trompeuse aura de légitimité. Cette thèse montre, en s’appuyant sur de nombreux documents – textes publiés ou restés inédits, notes de travail, riche correspondance –, comment Schaeffner a mené ce type d’étude critique à propos de l’œuvre de deux musiciens auxquels il a voué un intérêt passionné, l’un disparu : Claude Debussy, l’autre vivant et qu’il a pu côtoyer : Igor Stravinsky, ainsi que la manière dont on a accueilli ses travaux de son vivant, et leur validité aujourd’hui. / André Schaeffner (1895-1980), better known as ethnologist than for his musicological activity, in his works concerning classical music embraces a position against the kind of critique that claims to be “objective” or neutral towards the artwork. He makes a plea for a “critique of admiration” that takes sides and displays one’s preferences. His writings pay no heed to a teleological or systematic approach of the history of music. Instead, he puts the composer’s work in perspective, reconstructing its historical and aesthetic background. Many condemned this kind of approach as lacking any judgement criterion. Nevertheless, thanks to his study of the circumstances in which a composer’s works were created, Schaeffner was able to call into question common and supposedly true preconceptions and stereotypes. Based on a study of several documents – both published and unpublished texts, drafts, rich correspondence – this thesis shows how Schaeffner carried out this kind of critique, especially in his writings concerning two composers that he fervently admired: the deceased Claude Debussy and Igor Stravinsky, still alive at that time and with whom Schaeffner was acquainted; as well as how Schaeffner’s theories were received upon publication and what their validity is nowadays.

Muzio Clementi's symphonies were first performed in London between 1786 and 1796. After an extended hiatus from 1796 to 1813, his symphonic works appeared on programs again from 1813 to 1824. Clementi's career as a symphonist corresponds closely with trends in London's concert life. The reception of Clementi's symphonies during his lifetime has frequently been misinterpreted by scholars who oversimplify the use of "science" in musical discourse of the day and fail to consider the positive connotations of this adjective, so frequently applied to Clementi. Musical discourse at the time addressed the science and art of music emphasizing a composition, or its composer's, science, harmony, effects, genius, and the audience's response. Though an unstated ideal, reviews evince a preference for balancing scientific and artistic display. Reviews of Clementi's symphonies suggest he initially struggled to balance the technical and artistic qualities of his compositions but succeeded, according to reviews, in finally doing so in 1796. After his early efforts, Clementi was consistently praised as worthy to stand among the current and most prestigious composers of the continent: Haydn and Mozart initially, and Beethoven and Rossini later.

"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?

Rene Drouard de Bousset (1703-1760) was an admired composer and an organist of renown. This thesis examines this musician's life and work, and attempts to bring Bousset's music, hitherto largely unknown, to the attention of musicologists and performers today. Primarily a source study, the thesis makes a survey of all known copies of Bousset's published works, addressing questions of dates, reprints and corrections. Historical context and musical style are also discussed. Particular emphasis is given to Bousset's sacred music in the French language two volumes of sacred cantatas and eight settings of Odes sacrees by Jean-Baptiste Rousseau - and its place within the French tradition of Psalm paraphrase settings. The figure of J.B. Rousseau is also examined, as the librettist of Bousset's Odes, and as an important literary contributor to French music at the turn of the eighteenth century. The source study is supplemented by a catalogue in the style of the Philidor Oeuvres database produced by the Centre de Musique Baroque de Versailles, containing all Bousset's known works, extant and lost. This exposition of Bousset's compositional output is prefaced by a biographical overview assembled principally from eighteenth century publications and archival documents. Volume II of this thesis comprises a critical performing edition of Bousset's first volume of Cantates spirituelles (1739).

Beruht auf Diss. Brandeis Univ., 2001. / Includes bibliographical references (p. 195-205) and index.