The traditional major-minor tonality and the means for its establishment have been developed and used for the last four centuries, until all the possibilities of musical ideas within the given frame of tonal coherence seem now to be exhausted. Today we see a violent change, affecting the basic vocabulary of music as well as musical grammar and syntax. The possibilities of the major-minor tonality seem to be overgrown and appear to be no longer sufficiently flexible to serve the creative spirit of present-day music as basis for musical expression. Thoughtful composers and theorists, however much they may differ in their background and in their attitude toward different traits of modern music, agree in the realization that musical composition is at a crucial point of development all of over the world.

This thesis examines listeners' responses to tonal and atonal music through a combined model that encompasses music perception theories such as the cue abstraction mechanism, and both listener- and stimulus-based models of emotional responses to music. Aspects of this model relating to listener features and structural features are examined in more detail through an empirical investigation of the effects of musical experience and familiarity on perceptual and emotional responses to tonal and atonal music. Previous empirical investigation of these areas is limited: research concerning the effects of familiarity is largely unsystematic or explores the effects of immediate repetition of music on listeners' emotional responses; and research concerning emotional responses to music generally focuses on tonal repertoire. This empirical work encompasses a novel longitudinal mixed-methods approach to investigate listeners' changing emotional responses to music by Clementi, Schoenberg and Berio. Results suggested that musical experience increases listeners' perceptual efficiency, and influences emotional responses: music students' responses to the three pieces were at similar levels, whereas non- music students' responses varied more widely between the three pieces. With increasing familiarity, participants showed evidence of greater understanding of the structure of the music and greater awareness of details of the music. A significant ANOVA indicated changes in emotional responses wth familiarity, and the triggers of these responses changed according to the participants' awareness of musical features. The number of associative sources of emotional responses also increased. Anticipatory emotional responses developed with familiarity, particularly in response to the Clementi. There were interesting differences between participants' responses to the tonal and atonal pieces. Participants found it easier to identify the musical structure of the tonal piece than the atonal pieces, and all participants felt more familiar with the Clementi than the Schoenberg and the Berio. Participants' overall levels of emotional responses were highest in response to the Clementi, followed by the Schoenberg and then the Berio, and triggers for these responses varied in importance for each piece. These results indicate that musical expertise and familiarity should both be considered as important variables in future research, and that responses to atonal music merit further investigation in the future.

This paper compares the Bohlen-Pierce scale to other octave and nonoctave-based tuning systems, drawing parallels between it and the widely used 12-equal temperament. These parallels lead to the hypothesis that there can be a set ofharmonic mIes applicable to the Bohlen-Pierce scale that are analogous to the CUITent musical practice. Those theorized mIes are then applied to some examples of the growing body of musical compositions wrtten in the BohlenPierce scale. Aiso included are supportive arguments for a preference of the use of odd-partial timbres in performance of this scale, which make the invention of the Bohlen-Pierce clarinet a major tuming point in the scale's development. Sorne of the musical works studied were written specifically for this author's performance on the Bohlen-Pierce clarinet. / Ce document compare la gamme Bohlen-Pierce d'autres systmes d'accord octave et non-octave-bass, tablissant des parallles entre soi et le systme la plus utilis, temprament de I2-gal. Ces parallles mnent la possibilit qu'il peut tre des rgles harmoniques applicables la gamme BohlenPierce qui sont analogues la pratique musicale courante. Ces rgles thorises sont alors appliques quelques exemples du corps croissant de compositions musicales crites la gamme Bohlen-Pierce. Il-y-a aussi inclus des arguments qui support la prfrence d'utilisation des timbres impair-partiels dans la performance de cette gamme, qui ferait l'invention de la clarinette Bohlen-Pierce un point tournant majeur dans la dveloppement de cette gamme. Certains compositions etudi a t ecris pour la prformance sur clarinet Bohlen-Pierce par cette auteure .

Thesis (Ph. D.)--University of Texas at Austin, 1983. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [408]-413).

In this dissertation, I propose a model for comparing the degree to which diatonic major and minor keys are related to one another. I consider specific tonal and interval relationship factors (e.g., circle-of-fifths distance, tonic-to-tonic interval class) and their influence on the perception of how two keys are related. For all forty-eight possible relationships of two diatonic keys, I assign numerical values for each factor. These values are based on theoretical concepts where appropriate (e.g., the number of steps between the keys on the circle of fifths) and on an intuitive assessment in cases where there is no accepted numerical designation (e.g., the direction along the circle of fifths one travels from the first key to the second). I weight the values according to the relative significance of each factor and sum the weighted values to obtain a single numerical measure that describes the "distance" from the first key to the second. This abstract idea of distance represents the degree of relatedness between two keys. Larger distance values denote a lesser degree of relatedness. The model incorporates the idea of keydistance asymmetry - that the perceived distance between two keys depends on the order in which they occur.I devote one chapter to a general discussion of key relationships and another to the application of the model as a tool for analyzing the harmonic structure of tonal compositions from the standard literature. Using the key-distance model I develop in Chapter 2, I also provide a harmonic analysis of a composition for symphonic band which I have written to complement the theoretical portion of this dissertation. The score of this piece is included as an appendix. / School of Music

Inaug.-Diss.--Gothenburg. / Thesis statement on added special t.p. Bibliography: p. [187]-193.

Revision of the author's Habilitationsschrift, Universität zu Köln, 1990. / Includes bibliographical references (T. 1, p. 235-245).

Thesis (M.M.)--Michigan State University. Dept. of Music, 2005. / Title from PDF t.p. (viewed on Oct. 30, 2009) Includes bibliographic references (p. 41-44). Also issued in print.

Inaug.-Diss.--Gothenburg. / Thesis statement on added special t.p. Bibliography: p. [187]-193.

Thesis (Ph. D.)--University of Texas at Austin, 1983. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [408]-413).