Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains x, 71 p. : music. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Treatise (D.M.A.)--University of Texas at Austin, 2005. / Supervisors: Adam Holzman and Andrew Dell'Antonio. Vita. Includes bibliographical references. Also available from UMI.

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references.

Life Cycle is a modern musical composition written for chamber orchestra. Life Cycle is scored for flute, clarinet, electric guitar, viola, cello, glockenspiel, vibraphone, marimba and drum kit. This composition is composed in four movements, each representing a different phase of the composer's musical life-journey. Life Cycle infuses elements and techniques from the Classical idiom with jazz, pop and rock idioms.

Orientador(a): Florivaldo Menezes Filho / Banca: Maurício Funcia De Bonis / Banca: Leonardo Martinelli / Resumo: Este trabalho aborda a pesquisa de Henri Pousseur exposta no ensaio "Por uma periodicidade generalizada", tendo em vista os possíveis desdobramentos de sua teoria no âmbito de análise musical. Pousseur identifica em diferentes fenômenos sonoro musicais relações de complementariedade entre periodicidade e aperiodicidade que, por meio de progressivas generalizações, são redutíveis a modelos comuns. Mediado por modelos da teoria ondulatória, o autor nos propõe que organizações sonoras complexas são, tanto físico quanto perceptivelmente, delimitadas por formas mais simples. Partindo desta proposição, a pesquisa investiga a aplicabilidade do método no campo de análise musical / Abstract: This research deals with the research of Henri Pousseur published in the essay "For a Generalized Periodicity", considering possible developments of his theory in the field of musical analysis. Pousseur identifies, in different musical sound phenomena, complementarity between periodicity and aperiodicity which, throughout progressive generalizations, are reducible to common wave models. Mediated by models of undulatory theory, the author proposes that complex sound organizations are, both physically and perceptually, delimited by simpler forms. Starting from this proposition, the research apply the method in the field of musical analysis / Mestre

This dissertation proposes a model of word stress in a derivational version of Optimality Theory (OT) called Harmonic Serialism (HS; Prince and Smolensky 1993/2004, McCarthy 2000, 2006, 2010a). In this model, the metrical structure of a word is derived through a series of optimizations in which the 'best' metrical foot is chosen according to a ranking of violable constraints. Like OT, HS models cross-linguistic typology under the assumption that every constraint ranking should correspond to an attested language. Chapter 2 provides an argument for modeling stress typology in HS by showing that the serial model correctly rules out stress patterns that display non-local interactions, while a parallel OT model with the same constraints and representations fails to make such a distinction. Chapter 3 discusses two types of primary stress---autonomous and parasitic---and argues that limited parallelism in the assignment of primary stress is warranted by a consideration of attested typology. Stress systems in which the primary stress appears to behave autonomously from secondary stresses require that primary stress assignment be simultaneous with a foot's construction. As a result, a provision to allow primary stress to be reassigned during a derivation is necessary to account for a class of stress systems in which primary stress is parasitic on secondary stresses. Chapter 4 takes up two issues in the definition of constraints on primary stress, including a discussion of how primary stress alignment should be formulated and the identification of vacuous satisfaction as a cause of problematic typological predictions. It is proposed that all primary stress constraints be redefined according to non-vacuous schemata, which eliminate the problematic predictions when implemented within HS. Finally, chapter 5 considers the role of representational assumptions in typological predictions with comparisons between HS and parallel OT. The primary conclusion of this chapter is that constituent representations (i.e., feet) are necessary in HS to account for rhythmic stress patterns in a typologically restrictive way.

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Chasing Yiddishkayt: Music for Accordion, Klezmorim Concertino, Strings, and Percussion is a four-movement composition that combines the idioms of klezmer music with aspects of serialism. I aimed to infuse the piece with a sense of yiddishkayt: a recognizable, rooted Jewishness. In order to accomplish this goal, I based each movement on a different klezmer style. I used the improvisatory-style of the Romanian Jewish doina as the foundation for Movement 1. For Movements 2 through 4 I selected tunes from the 1927 Hoffman Manuscript-a fake-book assembled by Joseph Hoffman in Philadelphia for his son, Morris-as the starting point in my process, and also for the generation of pitch material. Each movement places the tunes in a different serialist context through the use of abstraction, manipulation and regeneration. The orchestration of the composition is designed as a modified a concerto structure that alternates between featuring the accordion and contrasting the klezmorim concertino (fiddle, clarinet, trumpet, trombone, tuba, and accordion) with the orchestra. Depending on the context, the percussion section functions as part of the concertino and the orchestra. In the monograph, I place the composition in a historical and musical context. In Chapter 1, I trace my travels to Kraków, Poland for the Jewish Culture Festival, where I began to explore and understand the intricate language of this music. In Chapter 2, I provide a summary of the history of klezmer music by looking at it through the context of a musical style that has developed across regional and cultural boundaries, and has drawn influences as far and wide as the Turkish maqam system in Constantinople, to the Moldavian Roms (Gypsies), to czarist Military bands, to jazz and swing, and to rock and roll. I conclude the chapter with a brief survey of four contemporary klezmer musicians of the new generation. In Chapter 3, I look at the modal structure of klezmer music. I used the work of Joshua Horowitz as the starting point for my research on various modal progressions and tetrachords. I then applied this research by analyzing a set of thirty freilechs in the Hoffman manuscript. In Chapter 4, I present an analysis of my composition as well as historical background for the tunes that I used as source material. I outline my future research goals in Chapter 5. / Music Composition / Accompanied by one .pdf score: Chasing Yiddishkayt.pdf .

The final piece of Dallapiccola’s “protest triptych” responding to Mussolinian fascism, Canti di Liberazione (1955) shows Dallapiccola’s abiding interest in author James Joyce’s work through its literary-inspired “simultaneity” and compositional strategies that suggest mixed temporalities (diverse temporal modes). This connection has significant implications on both the temporal and narrative forces at play within the work. Incorporating the work of philosophers such as Bergson and Adorno, I situate nonlinearity within the context of twentieth-century cultural life. Following Kern, I discuss the juxtaposition of distinct temporalities (simultaneity) in work such as Joyce’s Ulysses, which Dallapiccola adored, in addition to providing an overview of simultaneity in music. Next, I draw from Kramer and Reiner in examining the manifestations of linearity and nonlinearity in music. I explain how intertextuality has nonlinear implications and invites hermeneutic interpretation. Following Brown, I identify different types of symbolism and quotation in the work. Motivic elements such as the BACH cryptogram, musical references to Canti di Prigionia and Il Prigioniero, and structural symbolism such as palindromic gestures, are all crucial components of Liberazione’s unique temporal nexus. I explain how Dallapiccola’s intertextuality and compositional devices (such as retrograde, cross-partitioning, motivic recurrence, and rhythmic figuration) parallel Joyce’s techniques in Ulysses. Finally, I present a temporal analysis of Liberazione. Drawing from Kramer, I show how characteristics such as stepwise pitch relationships, homophony, and triadic gestures suggest linearity, while pedal points, “floating rhythm,” proportions, and polarity present nonlinearity. Moreover, I demonstrate how mixed temporalities (more than one temporal mode) operate within the work, and how linearity and nonlinearity exist at different structural levels. I explain how the recurring 01 dyad—a motivic minor second or major seventh—also manifests in the background stepwise descent of the work (F# to F), subverting the narrative transcendence of the conclusion. Ultimately, I categorize the work as an example of Kramer’s multiply-directed linear time, given its structural pitch connections and goal-directed teleology. / Music Composition