Despite a widely held view that serialism is incompatible with jazz improvisation, there are many instances of jazz musicians successfully engaging with this concept. This conflict seems likely to have arisen from differing interpretations of ‘serialism’; however, the question of how a jazz improviser’s approach to serialism might, or perhaps should, differ from a classical composer’s, has been left unasked. In addition, most attempts at the use of serialism within improvisation remain undocumented by the musicians concerned. The chord stranding techniques of Lutoslawski are less well known and less controversial than serialism. Connections between Lutoslawski’s twelve-note chords and traditional twelve-note rows are obvious, as are connections between the concept of harmonic ‘strands’ and the jazz harmonic device of superimposition. The possibilities for use of Lutoslawski’s ideas within a jazz context are interesting and worthy of consideration. This research project involves the composition and performance of jazz pieces applying serialism and chord stranding, as well as the exploration of precedents for these ideas within the jazz tradition. The four CD recordings within this thesis present the initial development of these concepts (CDs 1 and 2); an exploration of serialism in the music of John Coltrane (CD 3); and an album of original material demonstrating the integrated application of these concepts (CD 4). The exegesis describes the broader context of this project and examines the relevant music theory concepts. It uses analysis of transcriptions to show the specific application of techniques. The key outcomes from this research are (i) the development and (ii) the demonstration of techniques for pitch organisation based on serialism and chord stranding that are appropriate for jazz improvisation. The recordings and exegesis show the successful integration of these techniques with existing melodic and harmonic ideas familiar to jazz musicians. It is argued that the approach to jazz improvisation explored within this research represents a novel and radical reinterpretation of the traditional concept of serialism and that this approach is helpful when considering the effective use of serialism in a jazz context. From a broader perspective, this research offers a case study of an improviser grappling with the challenges of synthesis and stylistic integrity and, as such, it has the potential to inform contemporary debates concerning tradition and innovation within jazz. / v. 1 Exegesis -- v. 2 CD Recordings: CD1. Serialism concept development ; CD2. Chord stranding concept development ; CD3. Chris Martin Trio play A love supreme ; CD4. Triptych, 1+1=1 / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1341787 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Despite a widely held view that serialism is incompatible with jazz improvisation, there are many instances of jazz musicians successfully engaging with this concept. This conflict seems likely to have arisen from differing interpretations of ‘serialism’; however, the question of how a jazz improviser’s approach to serialism might, or perhaps should, differ from a classical composer’s, has been left unasked. In addition, most attempts at the use of serialism within improvisation remain undocumented by the musicians concerned. The chord stranding techniques of Lutoslawski are less well known and less controversial than serialism. Connections between Lutoslawski’s twelve-note chords and traditional twelve-note rows are obvious, as are connections between the concept of harmonic ‘strands’ and the jazz harmonic device of superimposition. The possibilities for use of Lutoslawski’s ideas within a jazz context are interesting and worthy of consideration. This research project involves the composition and performance of jazz pieces applying serialism and chord stranding, as well as the exploration of precedents for these ideas within the jazz tradition. The four CD recordings within this thesis present the initial development of these concepts (CDs 1 and 2); an exploration of serialism in the music of John Coltrane (CD 3); and an album of original material demonstrating the integrated application of these concepts (CD 4). The exegesis describes the broader context of this project and examines the relevant music theory concepts. It uses analysis of transcriptions to show the specific application of techniques. The key outcomes from this research are (i) the development and (ii) the demonstration of techniques for pitch organisation based on serialism and chord stranding that are appropriate for jazz improvisation. The recordings and exegesis show the successful integration of these techniques with existing melodic and harmonic ideas familiar to jazz musicians. It is argued that the approach to jazz improvisation explored within this research represents a novel and radical reinterpretation of the traditional concept of serialism and that this approach is helpful when considering the effective use of serialism in a jazz context. From a broader perspective, this research offers a case study of an improviser grappling with the challenges of synthesis and stylistic integrity and, as such, it has the potential to inform contemporary debates concerning tradition and innovation within jazz. / v. 1 Exegesis -- v. 2 CD Recordings: CD1. Serialism concept development ; CD2. Chord stranding concept development ; CD3. Chris Martin Trio play A love supreme ; CD4. Triptych, 1+1=1 / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1341787 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

O balé Agon é considerado o ápice da produção conjunta entre Stravinsky e o coreógrafo russo George Balanchine, e sua concepção foi repleta de descontinuidades. As ideias iniciais que motivaram a composição do balé datam de 1948, entretanto, Stravinsky começou a esboçar os primeiros rascunhos somente no final de 1953 e concluiu a obra, após algumas interrupções, em meados de 1957. Durante os anos de criação do balé, Stravinsky operou mudanças significativas em seu processo composicional, alguns movimentos remetem ao diatonismo de seu período neoclássico, enquanto outros são construídos a partir de elaborações seriais, desenvolvidas pelo compositor após o início da década de 1950. Este trabalho expõe os diferentes aspectos envolvidos na concepção do balé e, através da análise dos processos composicionais presentes na obra, busca determinar pontos de conexão em meio às referências díspares estabelecidas no diálogo entre música e dança. / The ballet Agon is considered the apex of the partnership between Stravinsky and the russian choreographer George Balanchine, and its creation was full of discontinuities. The initial ideas that motivated the composition of the ballet came up in 1948, but only in the end of 1953 Stravinsky began sketching the first drafts, and then in 1957, after some interruptions, he completed the work. During this years, Stravinsky made significant changes in his compositional process, some movements refers to the diatonicism of his neoclassical period, while others are constructed from serial elaborations, all of them developed by the composer after the 1950s. This dissertation expounds the several different aspects about the creation of the ballet and through the analysis of the compositional processes in the work, it attempts to determine the connection among the disparate references established in the dialogue between music and dance.

O balé Agon é considerado o ápice da produção conjunta entre Stravinsky e o coreógrafo russo George Balanchine, e sua concepção foi repleta de descontinuidades. As ideias iniciais que motivaram a composição do balé datam de 1948, entretanto, Stravinsky começou a esboçar os primeiros rascunhos somente no final de 1953 e concluiu a obra, após algumas interrupções, em meados de 1957. Durante os anos de criação do balé, Stravinsky operou mudanças significativas em seu processo composicional, alguns movimentos remetem ao diatonismo de seu período neoclássico, enquanto outros são construídos a partir de elaborações seriais, desenvolvidas pelo compositor após o início da década de 1950. Este trabalho expõe os diferentes aspectos envolvidos na concepção do balé e, através da análise dos processos composicionais presentes na obra, busca determinar pontos de conexão em meio às referências díspares estabelecidas no diálogo entre música e dança. / The ballet Agon is considered the apex of the partnership between Stravinsky and the russian choreographer George Balanchine, and its creation was full of discontinuities. The initial ideas that motivated the composition of the ballet came up in 1948, but only in the end of 1953 Stravinsky began sketching the first drafts, and then in 1957, after some interruptions, he completed the work. During this years, Stravinsky made significant changes in his compositional process, some movements refers to the diatonicism of his neoclassical period, while others are constructed from serial elaborations, all of them developed by the composer after the 1950s. This dissertation expounds the several different aspects about the creation of the ballet and through the analysis of the compositional processes in the work, it attempts to determine the connection among the disparate references established in the dialogue between music and dance.

MIRRORS is a cycle of songs composed for soprano voice and piano using five poems by Sylvia Plath. The work features the creation of a protagonist and tells a chronological story through the arrangement of the five poems colored and unified by the manipulation of a thematic twelve-tone row.

British composer Peter Racine Fricker (1920-1990) is known among violists for his masterly Concerto for Viola and Orchestra, Op. 18, dedicated to and premiered by the famous Scottish violist William Primrose. He wrote two other works that feature the viola: Three Movements for Viola Solo, Op. 25, and Fantasy for Viola and Piano, Op. 44. Fricker was a well-respected and prolific composer, one of the foremost young composers to emerge in England after World War II. After his move to the United States in 1964, the prominence he had established in his homeland virtually disappeared, and he never became a household name in America. Despite this, it is my contention that his music deserves study and a place in our repertoire. The above-mentioned Concerto has remained available in print since its initial publication. Fantasy for Viola and Piano was published in 2014 by the American Viola Society. This essay gives an introduction to these two works which are currently in circulation. The Concerto is considered from the standpoint of viola technique and pedagogy, while the Fantasy is briefly analyzed in terms of Fricker’s stated compositional ideals. The culmination of this work is a performance edition of the Three Movements, to be published later this year by the American Viola Society.

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Made available in DSpace on 2014-11-10T11:09:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-05-31Bitstream added on 2014-11-10T11:57:40Z : No. of bitstreams: 1 000795401.pdf: 3258460 bytes, checksum: a3918036269202e7cd8a97b2a95ff37c (MD5) / 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 / 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

Quattro Pezzi av Ingvar Lidholm (1921-2017) är ett verk skrivet i den tolvtonsteknik som senare kom att känneteckna både Lidholm och kanske också den svenska modernismen. Trots det har dagens musikhögskolestudenter inte speciellt mycket erfarenhet av att spela denna typ av musik. I föreliggande studie utreds analysens, och speciellt den grafiska analysens, vikt vid instudering av denna typ av modernistisk musik. Verket instuderas under tiden som det analyseras och efteråt dras slutsatser om till vilken hjälp analysen var. Efter studien blev slutsatsen att grafisk analys kan ge stor hjälp för att kunna ge verket en konkret form och ge en klarare bild av hur delarna och motiven förhåller sig till varandra. Analysen av själva tolvtonen gav inte så mycket information till nytta för själva musicerandet men bidrog till förståelse för musikens inre struktur och varför den låter som den gör. Vid instudering kan den inte speciellt tidskrävande grafiska analysen snabbt bidra med större förståelse för musiken.