Dissertation (M.Mus. (Performing Art))-University of Pretoria, 2007. / Summary in English. Includes bibliographical references.

No description available.

American composer, author and conductor Leonard J. Lehrman (b. 1949) has spent a majority of his lifetime devoted to the scholarship on the music of Marc Blitzstein (1905-1964). Lehrman completed Blitzstein’s Idiots First in 1973, and finished his own one-act opera Karla in 1974. In an effort to honor Blitzstein, Lehrman included Karla along with Idiots First to begin the set of one-act operas to be titled Tales of Malamud. Lehrman coined the term “selective serialism” in reference to Blitzstein’s use of serial techniques representing something associated with death or something diabolical. Lehrman applies a similar technique in that he uses serialism to reference the presence of a handwritten notes that are tied to the dramatic context of the opera. This study examines Lehrman's use of serialism in Karla as it was directly influenced by Blitzstein’s use of serialism in Idiots First.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 170-173).

Thesis (Ph. D.)--Ohio State University, 2007. / Includes bibliographical references (p. 170-173). Also issued online.

Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "February 2008" Includes bibliography (leaves 245-248) and discography (242-244) Also available in print form.

Non-Nutritive Serial Varnish is a song written and arranged for big band which explores several stylistic and compositional techniques developed during the 20th century. Serial techniques are used as the structural underpinning during melodic presentation. Eventually these serial structures work their way to the surface to reveal themselves as source material. The salient aesthetic, overarching form and harmony are derived from conventional jazz. The use of semi-improvised melodic modules is also employed.

The purpose of this project is to bring Kim’s caprices into the mainstream violin literature through a three-prong approach by examining each caprice via musical analysis, technical analysis, and by investigating its pedagogical merit. After inspecting each caprice through three different lenses mentioned above, the paper will organize the twelve caprices around a tripartite structure; serial, atonal, and free tonal. The work opens with a six-measure Motto. While the relationship between the Motto and the rest of the work is not immediately clear, thorough musical and formal analysis will provide insight into the work’s cohesion. This project will also examine pedagogically what specific technical challenges lay in selected caprices and how to solve thorny problems. The caprices are truly innovative in a sense that they present opportunities to understand non-tonal polyphonic writing on what is supposed to be a monophonic instrument while expanding the tradition of the Violin Caprice.

Orientador: Marcos Fernandes Pupo Nogueira / Banca: Celso Antônio Mojola / Banca: Graziela Bortz / Resumo: Após sua partida da Hungria em 1956, Ligeti permaneceu por cerca de dois meses em Viena e estabeleceu-se então, em Colônia. Neste período, esteve imerso no pensamento vanguardista em voga entre os compositores da escola de Darmstadt e Colônia. Foi neste período que Ligeti fez profunda imersão nos preceitos inerentes tanto ao modelo eletrônico quanto ao serial. Após a absorção dos preceitos oriundos da música eletrônica e da música serial, Ligeti demonstrou um profundo descontentamento com ambos os modelos e partiu para uma modalidade escrita instrumental que revolucionaria a escrita musical. O presente estudo investiga uma das mais distintas técnicas composicionais concebidas no séc. XX, técnica esta responsável não só pela criação de uma nova linguagem musical, mas também por uma revolução na escrita instrumental dada pela apropriação e pela aplicação de preceitos inerentes ao modelo eletrônico dentro da interface instrumental, o que mais tarde conhecer-se-ia por tecnomorfismo. "Confluências histórico-técnicas no conceito de micropolifonia (1956-1966)" tem por meta identificar, delinear e explicitar a influência do modelo serial e da música eletrônica sobre a técnica de micropolifonia por Ligeti concebida, assim como explicitar a maneira da qual se deu tal reação, investigando se a técnica de micropolifonia realmente consiste em uma confluência dos modelos eletrônico e serial e quais as implicações destes sobre a técnica de micropolifonia / Abstract: After his departure from Hungary in 1956, Ligeti remained for about two months in Vienna and then settled in Cologne. In this moment, he was immersed in the avant-garde thought in vogue among the composers of the Darmstadt and Cologne school. While in Cologne, Ligeti deeply immersed in the precepts inherent in both electronic and serial model. After absorpting the precepts derived from the electronic and serial music, Ligeti showed a deep dissatisfaction with both models and set out to write an instrumental writing that would revolutionize musical writing. This study investigates one of the most distinct compositional techniques designed in the 20th century: micropolyphony. This technique is not only responsible for creating a new musical language, but also a revolution in instrumental writing given by the appropriation and application of principles inherent in the electronic model through the instrument interface, which later would be known by technomorphism. "Historical-technical confluences on the concept of micropolyphony (1956-1966)" aims to identify, outline and explain the influence of the serial model and electronic music on the technique of concepti of micropolyphony, as well as explain the manner in which it gave such a reaction, investigating whether micropolyphony actually consists of a confluence of electronic and serial models and what are the implications of these models on the technique of micropolyphony / Mestre

Igor Stravinsky's precompositional process was so methodical that his move to serialism is no surprise. After becoming acquainted with the music of Schoenberg and Webern, Stravinsky was moved to experiment with serial techniques. He rejected many of the conventional approaches developed by the serial architects, only to adopt the technique at its basic form—the use of a series of pitches—and cultivate it into his own compositional style. Stravinsky continued to refine his style throughout his serial period (1951–1966) as each composition grew increasingly more serial than the last. For each work composed after 1960, Stravinsky constructed rotation arrays, a serial technique he adopted from Ernst Krenek. These arrays consisted of a twelve-tone row partitioned into hexachords, with each hexachord rotated to create five additional permutations per hexachord. These permutations were then transposed so that the first pitch of the original hexachord was retained for each permutation. This operation was performed on four series forms: prime, inversion, retrograde, and inversion of the retrograde (favored by Stravinsky over the traditional retrograde inversion form). It is from his rotational arrays that Stravinsky systematically chose hexachords to compose A Sermon, a Narrative, and a Prayer (1961); The Flood (1962); Abraham and Isaac (1963); and Requiem Canticles (1966). Though his precompositional charts are very specific in determining pitch application, it is difficult to account for the use of some hexachords that are found in these works but not found in Stravinsky's charts, as the hexachords do not explicitly appear in the charts. Many analysts have glossed over these incongruities. For instance, Joseph Straus mentions very little about these “anomalous hexachords” in Stravinsky's Late Music (2001); and Claudio Spies completely ignores the hexachords in question. In this paper I will identify these anomalous hexachords and attempt to explain their derivation from Stravinsky's charts.