Thesis (M.M.)--University of Wisconsin--Madison, 1982. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 149-154).

Although there exists substantial literature on Béla Bartók's music, few sources address his tonal language in a penetrating, analytical way. Analyses often lack precision in demonstrating adaptations of conventional principles of tonal orientation in the often nontraditional contexts of Bartók's music, and are generally inconclusive in explaining the particulars of interaction between conventional and nonconventional tonal determinants. The present study seeks to demonstrate adaptations and interactions of specific conventional and nonconventional tonal determinants, taking these shortcomings into account. In Chapter I, a brief but critical survey of approaches to tonality in Bartók is followed by a redefinition of tonality, which embodies both conventional and nonconventional determinants of centric orientation, many of the latter being analogues of the former. Progression and prolongation are cited as two fundamental processes by which tonal orientation is effected. Because Bartók's string quartets span his compositional career, reflecting global changes in his musical language, they are particularly convenient for study. Chapter II introduces four categories of progression relevant to Bartók's quartets: conventionally functional progressions, nonconventional tonicizing progressions, fifth progressions, and linear progressions. Each is further subdivided, with discussion of the theoretical principles of classification, examination of the existing literature where relevant, and illustration of the element of' progression in question, usually by excerpt from the quartets. Chapter III takes Heinrich Schenker's theory of prolongation as a departure point for the study of nonconventional but analogous procedures in Bartók's quartets. Prolongation over foreground, mid-level, and large-scale spans is studied, and subcategories of mid-level prolongation in particular are discussed in relation to commentary by Wallace Berry, Craig Ayrey, and Arnold Whittall on this vital but problematic concept. Each prolongational determinant is exemplified in passages from the quartets. The focus of Chapter IV is the final movement of Bartók's sixth quartet, the analysis of which illuminates details of interaction between conventional and nonconventional tonal determinants—such interaction being crucial in understanding Bartók's tonality as a unified system of functionally interrelated principles of centric orientation and structural coherence. Chapter V summarizes the findings of the analysis in Chapters II-IV. / Arts, Faculty of / Music, School of / Graduate

The dissertation identifies three types of tonality: scalicfmodal, melodic, and harmonic. Scalic/modal tonality and melodic tonality are known to have been existent in Antiquity. Messiaen adheres to these ancient types of tonality and also harmonic tonality. Messiaen uses these types of tonality in his own combinations -- his concept of tonality is revealed to be highly complex. / Musicology / M.Mus. (Musicology)

The dissertation identifies three types of tonality: scalicfmodal, melodic, and harmonic. Scalic/modal tonality and melodic tonality are known to have been existent in Antiquity. Messiaen adheres to these ancient types of tonality and also harmonic tonality. Messiaen uses these types of tonality in his own combinations -- his concept of tonality is revealed to be highly complex. / Musicology / M.Mus. (Musicology)

Thesis (M.M.)--Arthur Jordan Conservatory of Music, 1945. / Includes bibliographical references (leaves 103-105).

The author's inaugural dissertation, Zürich. / Lebenslauf. Issued also without thesis note. "Notenbeispiele": p. 84-91.

This study deals with the processes of tonal counterpoint inherent in the songs of Schoenberg's Opus 15i "Book of the Hanging Gardens" and, by implication, in related works. Chapter I, "The Concept of Harmonic Voice", introduces the conceptual key to the manner of investigation presented herein. Simply stated, "harmonic voices" consist of the strongly-directed, predictable motions by semitone and whole-tone, and the common-tone connections which occur from one chord to the next in a tonal progression. Examples of strongly-directed motions are the rising of the leading-tone and falling of the minor seventh of a dominant-seventh chord, and the diverging motions present when an augmented sixth progresses to an octave on the dominant. To show how the harmonic voice concept may be applied in analysis, passages from Opus 6, Number k are examined. Chapter II, "Harmonic Procedures Which Minimize Diatonic-Chromatic Differences", deals with specific types of harmonic voice motion which are common to chromatic passages and simpler, more overtly tonal ones. The lack of importance which the harmonic voice concept attributes to the presence or absence of the root of a chord is emphasized. The harmonic procedures discussed come under the following subject headings: "The Tritone-Substitute", "The Minor-Seventh/Augmented-Sixth Potential of 'Whole-tone' Chords", "Double-Neighbor Pairs in 'Whole-tone' and Other Contexts", "The Minor-Third Relationship", and "The Minor-Second Relationship". Passages from songs of Opus 3i 6, 12, and 14 are analyzed. Chapter III is a detailed analysis of Opus 1$, Number 5$ which applies the harmonic voice concept and attempts to expose the harmonic devices dealt with in Chapter II. Chapter IV is a detailed analysis of Opus 15, Number 11. / Arts, Faculty of / Music, School of / Graduate

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Chapter I examines linguistic structures fundamental to most tasks of comprehension performed by humans. Chapter II proposes musical elements to be linguistic structures functioning within a musical symbol system (syntax). In this chapter, functional tonality is explored for systemic elements and relationships among these elements that facilitate tonal understanding. It is postulated that the listener's comprehension of these tonal elements is dependent on cognitive tasks performed by virtue of linguistic competence. Chapter III examines human information processing systems that are applicable both generally to human cognition and specifically to tonal comprehension. A pedagogy for listening skills that facilitate tonal comprehension is proposed in the fourth and final chapter and is based on information presented in preceding chapters.