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1	Does quartal harmony affect the mood in computer games? / Påverkar kvartalharmonik stämningen i dataspel? Johansson, Pontus January 2018 (has links) The background explains musical concepts of consonance, dissonance and quartal harmony which are the central parts of this work. Emotion in- and application of music is explained as well, to give an understanding to how the music is being used. The problem is what was studied, and the method shows how it was to be studied. The goal of this work was to see what kind of harmony is better at inducing stress in a player playing a game, quartal or triad harmony. Two different harmonizations of the same songs were composed and implemented into a game sequence. Semi-structured qualitative interviews were held to collect data. The result of this study showed that both harmonizations induced the same amount of stress, not leading to any concrete answer. music harmony quartal triad immersion musik harmoni kvartal triad immersion Musicology Musikvetenskap
2	Expanded tonality in three early piano works of Béla Bartók (1881-1945) Brukman, Jeffrey James 11 1900 (has links) Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music, notwithstanding tonally camouflaging surface details, clearly had a tonal foundation which in many respects is a reaction to the emerging atonalism of Schonberg. Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k employed to obscure tonicisation embrace double-degree constructions, quartal formations, chords of addition and omission and other irregular constructions. Diatonic tonal pillars are evident in pedal points, tonic triads and dominant to tonic root movement. Through an application of the Riemann function theory expanded by Hartmann's supposition of fully-chromaticised scales tonal syntax (especially secondphase Strauss cadences or closes) becomes apparent within an expanded tonal product. The analyses conclude that Bart6k's inimitable "sound-world" is a twentieth-century manifestation of traditional tonality's primary tenets. / Musicology / M.Mus. Expanded tonality Fully-chromaticised scales Bitonal process Bitonal product Double-degree chords Strauss cadences Pedal points Key-introductory six-four chord Chord of addition Chord of omission Quartal constructions Chord streaming 786.21258092 Tonality Chords (Music)
3	Expanded tonality in three early piano works of Béla Bartók (1881-1945) Brukman, Jeffrey James 11 1900 (has links) Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music, notwithstanding tonally camouflaging surface details, clearly had a tonal foundation which in many respects is a reaction to the emerging atonalism of Schonberg. Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k employed to obscure tonicisation embrace double-degree constructions, quartal formations, chords of addition and omission and other irregular constructions. Diatonic tonal pillars are evident in pedal points, tonic triads and dominant to tonic root movement. Through an application of the Riemann function theory expanded by Hartmann's supposition of fully-chromaticised scales tonal syntax (especially secondphase Strauss cadences or closes) becomes apparent within an expanded tonal product. The analyses conclude that Bart6k's inimitable "sound-world" is a twentieth-century manifestation of traditional tonality's primary tenets. / Musicology / M.Mus. Expanded tonality Fully-chromaticised scales Bitonal process Bitonal product Double-degree chords Strauss cadences Pedal points Key-introductory six-four chord Chord of addition Chord of omission Quartal constructions Chord streaming 786.21258092 Tonality Chords (Music)
4	Beyond Fourths and Pentatonics: A Critical Analysis of Selected Recordings of McCoy Tyner from 1962 to 1963 Satterthwaite, Gregory 05 1900 (has links) In this paper, I explore the early musical language of McCoy Tyner. Today, Tyner is recognized mostly for his use of quartal harmony and pentatonic scales despite having made recordings in his early career that reflect a more mainstream approach. In an effort to expand how Tyner is represented, I argue that Tyner's early style was characterized by a graceful balance of tradition and innovation, a masterful blend of bebop syntax with pentatonic melodies and quartal harmonies. The recordings that I analyze and discuss are: "Effendi," "Cousin Mary," and "Newport Romp." I transcribed and analyzed selected portions of these recordings in order to better understand his early musical language as a soloist from 1962 to 1963. A portion of this paper is focused on the early reception of Tyner, which acknowledged him as an accomplished mainstream player with a firm grasp of the jazz tradition. Ultimately, my analysis shows that Tyner's early style was a balance of tradition and innovation, incorporating bebop syntax, pentatonic melodies, and quartal harmonies. McCoy Tyner Tyner pentatonics pentatonic scales quartal harmony fourth intervals bebop mainstream jazz jazz tradition jazz innovation jazz pianist jazz solos Tyner, McCoy. Jazz -- Analysis, appreciation. Jazz musicians. Jazz -- 1961-1970. Pianists. Academic theses

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