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A theoretical investigation of twelve-tone rows, harmonic aggregates, and non-twelve-tone materials in the late music of Alberto Ginastera /Fobes, Christopher Anderson. January 2006 (has links)
Thesis--State University of New York at Buffalo, 2006. / Computer printout. List of Ginastera's numbered compositions: leaves 135-136. Includes bibliographical references (leaves 146-150), and examples (leaves 151-256).
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Pitch-class set multiplication in Boulez's Le marteau sans maitre /Heinemann, Stephen. Heinemann, Stephen. Heinemann, Stephen. January 1993 (has links)
Thesis (D. Mus. Arts)--University of Washington, 1993. / Vita. Includes the score to his Piano variations and Inscriptions for orchestra. Includes bibliographical references (leaves [116]-118).
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An examination of the integration of serial procedures and folkloric elements in the music of Roberto Gerhard (1896-1970)Mitchell, Rachel Elice, January 1900 (has links)
Thesis (Ph. D.)--University of Texas at Austin, 2009. / Title from PDF title page (University of Texas Digital Repository, viewed on Sept. 9, 2009). Vita. Includes bibliographical references.
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Hearing aggregatesSamet, Sydney Bruce. January 1985 (has links)
Thesis (Ph. D.)--Princeton University, 1985. / Includes bibliographical references.
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Die tonale aspekte in die toonreekse van Dallapiccola se seriele komposisiesSnibbe, Chantal. January 2004 (has links)
Dissertation (M.Mus(Uitvoerende Kuns))-Universiteit van Pretoria, 2004. / Summary in English and Afrikaans. Includes bibliographical references. Available on the Internet via the World Wide Web.
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Creating harmonic functionality in post-tonal music : a composer's perspectiveFaria Gomes, Pedro January 2014 (has links)
The notion of harmonic ‘function’ was introduced by Riemann in 1891 to describe aspects of tonal music, but, as musical language evolved, its meaning and application developed beyond the premise of tonality. This study re-evaluates the relevance of harmonic functionality for composers today, through a reassessment of what may constitute functionality in post-tonal music and a practical exploration of the concept in ten new compositions. The general openness of harmonic systems since the 1980s has led composers across a variety of aesthetic standpoints to often combine diverse types of harmonic material in one same piece; this thesis argues that, within such a framework, harmonic functionality is potentially an important instrument of coherence, strength and inventiveness in the musical argument. The first part examines the main terminology, including the notions of ‘harmony’, ‘post-tonality’ and the origin and development of the idea of ‘harmonic functionality’. Several composers and theorists are considered, with a particular focus on Riemann. The second part centres on the ten compositions, particularly on Nachtmusik, with both detailed and large-scale analysis aiming to clarify how each piece informed specific aspects of the study. For the sake of comparison, aspects relating to harmonic functionality in other composers’ work are also discussed, namely in Stravinsky’s Requiem Canticles and Adès’ Polaris and Tevot. It is concluded that harmonic functionality is generally related to formal functions, and that the combined action of pitch and other parameters establishes functional properties very much depending on musical context. Certain elements play a central role in the definition of functionality: 1) sense of direction; 2) recurrence and change; 3) hierarchy; 4) pitch polarity; 5) extra-musical meaning. The creation of harmonic functionality in post-tonal music is a problem which composers often deal with intuitively in their practice, and the notion is still frequently considered in a strictly tonal sense by theorists; through the clarification and discussion of the process in post-tonality, its potential is likely to be more fully explored, both theoretically and practically.
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An investigation into the perceptibility of twelve-tone rows /Largent, Edward James January 1972 (has links)
No description available.
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An investigation into the perceptibility of twelve-tone rows /Largent, Edward James January 1972 (has links)
No description available.
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Boulez's Sonatine and the Genesis of His Twelve-tone PracticeChang, Sangtae 05 1900 (has links)
This dissertation proposes that the Sonatine broadly unfolds a kinetic structure that stems from the traditional tension-relief model and, consequently, its dependence on tradition proves much deeper than Boulez would acknowledge.
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Luo Zhongrong's twelve-note music (1979-2000): the evolution of compositional techniques. / 羅忠鎔的十二音音樂(1979-2000): 作曲技巧的發展 / CUHK electronic theses & dissertations collection / Luo Zhongrong de shi er yin yin yue (1979-2000): zuo qu ji qiao de fa zhanJanuary 2013 (has links)
Wong, Hoi Yan. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.
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