Middleground Structure in the Cadenza to Boulez's Éclat
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
Essai Sur Pierre Boulez Rennes, Presses Universitaires De Rennes, 2017
Transposition Musique et Sciences Sociales 8 | 2019 Musique : patrimoine immatériel ? Lambert Dousson, Une manière de penser et de sentir : Essai sur Pierre Boulez Rennes, Presses Universitaires de Rennes, 2017 Edward Campbell Electronic version URL: http://journals.openedition.org/transposition/2890 DOI: 10.4000/transposition.2890 ISSN: 2110-6134 Publisher CRAL - Centre de recherche sur les arts et le langage Electronic reference Edward Campbell, « Lambert Dousson, Une manière de penser et de sentir : Essai sur Pierre Boulez », Transposition [Online], 8 | 2019, Online since 15 September 2019, connection on 17 December 2020. URL : http://journals.openedition.org/transposition/2890 ; DOI : https://doi.org/10.4000/transposition. 2890 This text was automatically generated on 17 December 2020. La revue Transposition est mise à disposition selon les termes de la Licence Creative Commons Attribution - Partage dans les Mêmes Conditions 4.0 International. Lambert Dousson, Une manière de penser et de sentir : Essai sur Pierre Boulez 1 Lambert Dousson, Une manière de penser et de sentir : Essai sur Pierre Boulez Rennes, Presses Universitaires de Rennes, 2017 Edward Campbell REFERENCES Lambert Dousson, Une manière de penser et de sentir : Essai sur Pierre Boulez, Rennes, Presses Universitaires de Rennes, 2017, 380 p. 1 Une manière de penser et de sentir : Essai sur Pierre Boulez, is the product of Lambert Dousson’s doctoral thesis, defended at the University of Nanterre in 2011. Dousson sets out to show how Boulez’s musical thought contains ‘an unstated [‘informulé’] philosophy of the subject’ that is practiced ‘tacitly’ in his composition (p. 17) and which corresponds to the author’s conviction that ‘every practice is at the same time a practice of the self’ [‘pratique de soi’], a starting point that undoubtedly resonates with statements made by Boulez. -
Pierre-Laurent Aimard, Piano Tamara Stefanovich, Piano
Thursday, March 12, 2015, 8pm Zellerbach Hall Pierre-Laurent Aimard, piano Tamara Stefanovich, piano The Piano Music of Pierre Boulez PROGRAM Pierre Boulez (b. 1925) Notations (1945) I. Fantastique — Modéré II. Très vif III. Assez lent IV. Rythmique V. Doux et improvisé VI. Rapide VII. Hiératique VIII. Modéré jusqu'à très vif IX. Lointain — Calme X. Mécanique et très sec XI. Scintillant XII. Lent — Puissant et âpre Boulez Sonata No. 1 (1946) I. Lent — Beaucoup plus allant II. Assez large — Rapide Boulez Sonata No. 2 (1947–1948) I. Extrêmement rapide II. Lent III. Modéré, presque vif IV. Vif INTERMISSION PLAYBILL PROGRAM Boulez Sonata No. 3 (1955–1957; 1963) Formant 3 Constellation-Miroir Formant 2 Trope Boulez Incises (1994; 2001) Boulez Une page d’éphéméride (2005) Boulez Structures, Deuxième livre (1961) for two pianos, four hands Chapitre I Chapitre II (Pièces 1–2, Encarts 1–4, Textes 1–6) Funded, in part, by the Koret Foundation, this performance is part of Cal Performances’ – Koret Recital Series, which brings world-class artists to our community. This performance is made possible, in part, by Patron Sponsor Françoise Stone. Hamburg Steinway piano provided by Steinway & Sons, San Francisco. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES PROGRAM NOTES THE PROGRAM AT A GLANCE the radical break with tradition that his music supposedly embodies. If Boulez belongs to an Tonight’s program includes the complete avant-garde, it is to a French avant-garde tra - piano music of Pierre Boulez, as well as a per - dition dating back two centuries to Berlioz formance of the second book of Structures for and Delacroix, and his attitudes are deeply two pianos. -
Chord Progressions
Chord Progressions Part I 2 Chord Progressions The Best Free Chord Progression Lessons on the Web "The recipe for music is part melody, lyric, rhythm, and harmony (chord progressions). The term chord progression refers to a succession of tones or chords played in a particular order for a specified duration that harmonizes with the melody. Except for styles such as rap and free jazz, chord progressions are an essential building block of contemporary western music establishing the basic framework of a song. If you take a look at a large number of popular songs, you will find that certain combinations of chords are used repeatedly because the individual chords just simply sound good together. I call these popular chord progressions the money chords. These money chord patterns vary in length from one- or two-chord progressions to sequences lasting for the whole song such as the twelve-bar blues and thirty-two bar rhythm changes." (Excerpt from Chord Progressions For Songwriters © 2003 by Richard J. Scott) Every guitarist should have a working knowledge of how these chord progressions are created and used in popular music. Click below for the best in free chord progressions lessons available on the web. Ascending Augmented (I-I+-I6-I7) - - 4 Ascending Bass Lines - - 5 Basic Progressions (I-IV) - - 10 Basie Blues Changes - - 8 Blues Progressions (I-IV-I-V-I) - - 15 Blues With A Bridge - - 36 Bridge Progressions - - 37 Cadences - - 50 Canons - - 44 Circle Progressions -- 53 Classic Rock Progressions (I-bVII-IV) -- 74 Coltrane Changes -- 67 Combination -
Surviving Set Theory: a Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory
Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Angela N. Ripley, M.M. Graduate Program in Music The Ohio State University 2015 Dissertation Committee: David Clampitt, Advisor Anna Gawboy Johanna Devaney Copyright by Angela N. Ripley 2015 Abstract Undergraduate music students often experience a high learning curve when they first encounter pitch-class set theory, an analytical system very different from those they have studied previously. Students sometimes find the abstractions of integer notation and the mathematical orientation of set theory foreign or even frightening (Kleppinger 2010), and the dissonance of the atonal repertoire studied often engenders their resistance (Root 2010). Pedagogical games can help mitigate student resistance and trepidation. Table games like Bingo (Gillespie 2000) and Poker (Gingerich 1991) have been adapted to suit college-level classes in music theory. Familiar television shows provide another source of pedagogical games; for example, Berry (2008; 2015) adapts the show Survivor to frame a unit on theory fundamentals. However, none of these pedagogical games engage pitch- class set theory during a multi-week unit of study. In my dissertation, I adapt the show Survivor to frame a four-week unit on pitch- class set theory (introducing topics ranging from pitch-class sets to twelve-tone rows) during a sophomore-level theory course. As on the show, students of different achievement levels work together in small groups, or “tribes,” to complete worksheets called “challenges”; however, in an important modification to the structure of the show, no students are voted out of their tribes. -
Lecture Notes
Notes on Chromatic Harmony © 2010 John Paul Ito Chromatic Modulation Enharmonic modulation Pivot-chord modulation in which the pivot chord is spelled differently in the two keys. Ger +6 (enharmonically equivalent to a dominant seventh) and diminished sevenths are the most popular options. See A/S 534-536 Common-tone modulation Usually a type of phrase modulation. The two keys are distantly related, but the tonic triads share a common tone. (E.g. direct modulation from C major to A-flat major.) In some cases, the common tone may be spelled using an enharmonic equivalent. See A/S 596-599. Common-tone modulations often involve… Chromatic mediant relationships Chromatic mediants were extremely popular with nineteenth-century composers, being used with increasing frequency and freedom as the century progressed. A chromatic mediant relationship is one in which the triadic roots (or tonal centers) are a third apart, and in which at least one of the potential common tones between the triads (or tonic triads of the keys) is not a common tone because of chromatic alterations. In the example above of C major going to A-flat major, the diatonic third relationship with C major would be A minor, which has two common tones (C and E) with C major. Because of the substitution of A-flat major (bVI relative to C) for A minor, there is only one common tone, C, as the C-major triad includes E and the A-flat-major triad contains E-flat. The contrast is even more jarring if A-flat minor is substituted; now there are no common tones. -
When the Leading Tone Doesn't Lead: Musical Qualia in Context
When the Leading Tone Doesn't Lead: Musical Qualia in Context Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Claire Arthur, B.Mus., M.A. Graduate Program in Music The Ohio State University 2016 Dissertation Committee: David Huron, Advisor David Clampitt Anna Gawboy c Copyright by Claire Arthur 2016 Abstract An empirical investigation is made of musical qualia in context. Specifically, scale-degree qualia are evaluated in relation to a local harmonic context, and rhythm qualia are evaluated in relation to a metrical context. After reviewing some of the philosophical background on qualia, and briefly reviewing some theories of musical qualia, three studies are presented. The first builds on Huron's (2006) theory of statistical or implicit learning and melodic probability as significant contributors to musical qualia. Prior statistical models of melodic expectation have focused on the distribution of pitches in melodies, or on their first-order likelihoods as predictors of melodic continuation. Since most Western music is non-monophonic, this first study investigates whether melodic probabilities are altered when the underlying harmonic accompaniment is taken into consideration. This project was carried out by building and analyzing a corpus of classical music containing harmonic analyses. Analysis of the data found that harmony was a significant predictor of scale-degree continuation. In addition, two experiments were carried out to test the perceptual effects of context on musical qualia. In the first experiment participants rated the perceived qualia of individual scale-degrees following various common four-chord progressions that each ended with a different harmony. -
9445.01 GCE A2 Music (Part 2) Written Paper (Summer 2015).Indd
ADVANCED General Certificate of Education 2015 Music Assessment Unit A2 2: Part 2 assessing Written Examination [AU222] TUESDAY 2 JUNE, AFTERNOON MARK SCHEME 9445.01 F Context for marking Questions 2, 3 and 4 – Optional Areas of Study Each answer should be marked out of 30 marks distributed between the three criteria as follows: Criterion 1 – content focused Knowledge and understanding of the Area of Study applied to the context of the question. [24] Criterion 2 – structure and presentation of ideas Approach to the question, quality of the argument and ideas. [3] Criterion 3 – quality of written communication Quality of language, spelling, punctuation and grammar and use of appropriate musical vocabulary. [3] MARKING PROCESS Knowledge and Understanding of the Area of Study applied to the Context of the Question Marks should be awarded according to the mark bands stated below. Marks [1]–[6] The answer is limited by insufficient breadth or depth of knowledge. [7]–[12] The answer displays some breadth but limited depth of knowledge of the area of study. There is some attempt to relate the content of the answer to the context of the question but there may be insufficient reference to appropriate musical examples. [13]–[18] The answer displays a competent grasp of the area of study in terms of both breadth and depth of knowledge with appropriate musical examples to support points being made or positions taken. At the lower end of the range there may be an imbalance between breadth and depth of knowledge and understanding. [19]–[24] The answer displays a comprehensive grasp of the area of study in terms of both breadth and depth of knowledge and understanding with detailed musical examples and references to musical, social, cultural or historical contexts as appropriate. -
Chromatic Sequences
CHAPTER 30 Melodic and Harmonic Symmetry Combine: Chromatic Sequences Distinctions Between Diatonic and Chromatic Sequences Sequences are paradoxical musical processes. At the surface level they provide rapid harmonic rhythm, yet at a deeper level they function to suspend tonal motion and prolong an underlying harmony. Tonal sequences move up and down the diatonic scale using scale degrees as stepping-stones. In this chapter, we will explore the consequences of transferring the sequential motions you learned in Chapter 17 from the asymmetry of the diatonic scale to the symmetrical tonal patterns of the nineteenth century. You will likely notice many similarities of behavior between these new chromatic sequences and the old diatonic ones, but there are differences as well. For instance, the stepping-stones for chromatic sequences are no longer the major and minor scales. Furthermore, the chord qualities of each individual harmony inside a chromatic sequence tend to exhibit more homogeneity. Whereas in the past you may have expected major, minor, and diminished chords to alternate inside a diatonic sequence, in the chromatic realm it is not uncommon for all the chords in a sequence to manifest the same quality. EXAMPLE 30.1 Comparison of Diatonic and Chromatic Forms of the D3 ("Pachelbel") Sequence A. 624 CHAPTER 30 MELODIC AND HARMONIC SYMMETRY COMBINE 625 B. Consider Example 30.1A, which contains the D3 ( -4/ +2)-or "descending 5-6"-sequence. The sequence is strongly goal directed (progressing to ii) and diatonic (its harmonies are diatonic to G major). Chord qualities and distances are not consistent, since they conform to the asymmetry of G major. -
Two Serial Pieces Written in 1968 by Pierre Boulez and Isang Yun By
A Study of Domaines and Riul: Two Serial Pieces Written in 1968 by Pierre Boulez and Isang Yun by Jinkyu Kim Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee _______________________________________ Julian L. Hook, Research Director _______________________________________ James Campbell, Chair _______________________________________ Eli Eban _______________________________________ Kathryn Lukas April 10, 2018 ii Copyright © 2018 Jinkyu Kim iii To Youn iv Table of Contents Table of Contents ............................................................................................................................. v List of Examples ............................................................................................................................. vi List of Figures ................................................................................................................................. ix List of Tables .................................................................................................................................. xi Chapter 1: MUSICAL LANGUAGES AFTER WORLD WAR II ................................................ 1 Chapter 2: BOULEZ, DOMAINES ................................................................................................ -
Generalized Tonnetze and Zeitnetz, and the Topology of Music Concepts
June 25, 2019 Journal of Mathematics and Music tonnetzTopologyRev Submitted exclusively to the Journal of Mathematics and Music Last compiled on June 25, 2019 Generalized Tonnetze and Zeitnetz, and the Topology of Music Concepts Jason Yust∗ School of Music, Boston University () The music-theoretic idea of a Tonnetz can be generalized at different levels: as a network of chords relating by maximal intersection, a simplicial complex in which vertices represent notes and simplices represent chords, and as a triangulation of a manifold or other geomet- rical space. The geometrical construct is of particular interest, in that allows us to represent inherently topological aspects to important musical concepts. Two kinds of music-theoretical geometry have been proposed that can house Tonnetze: geometrical duals of voice-leading spaces, and Fourier phase spaces. Fourier phase spaces are particularly appropriate for Ton- netze in that their objects are pitch-class distributions (real-valued weightings of the twelve pitch classes) and proximity in these space relates to shared pitch-class content. They admit of a particularly general method of constructing a geometrical Tonnetz that allows for interval and chord duplications in a toroidal geometry. The present article examines how these du- plications can relate to important musical concepts such as key or pitch-height, and details a method of removing such redundancies and the resulting changes to the homology the space. The method also transfers to the rhythmic domain, defining Zeitnetze for cyclic rhythms. A number of possible Tonnetze are illustrated: on triads, seventh chords, ninth-chords, scalar tetrachords, scales, etc., as well as Zeitnetze on a common types of cyclic rhythms or time- lines. -
Harmonic Vocabulary in the Music of John Adams: a Hierarchical Approach Author(S): Timothy A
Yale University Department of Music Harmonic Vocabulary in the Music of John Adams: A Hierarchical Approach Author(s): Timothy A. Johnson Source: Journal of Music Theory, Vol. 37, No. 1 (Spring, 1993), pp. 117-156 Published by: Duke University Press on behalf of the Yale University Department of Music Stable URL: http://www.jstor.org/stable/843946 Accessed: 06-07-2017 19:50 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Yale University Department of Music, Duke University Press are collaborating with JSTOR to digitize, preserve and extend access to Journal of Music Theory This content downloaded from 198.199.32.254 on Thu, 06 Jul 2017 19:50:30 UTC All use subject to http://about.jstor.org/terms HARMONIC VOCABULARY IN THE MUSIC OF JOHN ADAMS: A HIERARCHICAL APPROACH Timothy A. Johnson Overview Following the minimalist tradition, much of John Adams's' music consists of long passages employing a single set of pitch classes (pcs) usually encompassed by one diatonic set.2 In many of these passages the pcs form a single diatonic triad or seventh chord with no additional pcs. In other passages textural and registral formations imply a single triad or seventh chord, but additional pcs obscure this chord to some degree.