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Culty of Graduate AN INVESTIGATION OF PERIODICITY IN with reference to three twentieth-centnry compositions: A C CEPTEDBARTOK' s Music for Strings, Percussion & Celesta CULTY OF GRADUATE by Rosemary Mountain ----- BT~"Mus., University of Western Ontario, 1980 M.Mus., University of Victoria, 1986 A Dissertation Submitted, in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the School of Music We accept this thesis as conforming to the required standard Prof. K. Longtpn, Supervisor (School of Music) Dr. H. Krebs, Departmental Member (School of Music) ________ /Dr. J- |celona.,_JDepaft!mentUI Member (School of Music) Dr/1 C. Porac, Outside Member (Department of Psychology) J. Michels'feTLy^Outside Member (Department of Philosophy) Prof. O. Underhill, External Examiner © ROSEMARY SMITH MOUNTAIN, 1993 University of Victoria All ri^ts reserved. Dissertation may not be r^roduced in vAiole or in part, by photocopying or other means, without the permission of the author. Miisic Sales Corporation 225 Park Avenue South. New York. NY 10003 Telephone; 212 254 2100. Telex: 42S351. Fax: 212 254 2013 Date: _____________ /fo S G ./n a// o o n /'â 'f/i O '/p /^ o s f'c . M ^Cr<>i4v n f |//P.^r/éP \/;ri Æ-7X éà-i/- y^!/- 6 ~ s ? 7 RE; ô o /1 ù :r-/o T$r Qrc^eshei "^ / u t ^ s Publisher: i r ^ t ^ r ______________________ Dea_ / ^ r S . : This letter is to confirm our agreement for the use of excerpts from the above-mentioned title in your master thesis/doctoral dissertation, subject to the following conditions: 1. The following copyright credit is to be listed on the page where the excerpts will be used or with the acknowledgments; ^ ^ÂSCJ/Ù International Copyright Secured. All Rights Reserved. Used by Permission. 2. Copies are for your personal use in connection with your thesis/dissertation, and may not be sold or further duplicated without our written consent. This in no way is meant to prevent your depositing a copy in an inter-library system, such as the microfilm collection of the university you attend, or with University Microfilms, Inc. 3. Permission is granted to the University Microfilms, Inc. to make single copies of your thesis/dissertation upon demand, subject to a fee of Twenty-five ($25.00) Dollars on a yearly basis. 4. If your thesis / dissertation is accepted for commercial publication, further written permission must be sought. Your very truly. Zoraya Mendez-De Cosmis Print Licensing Manager Music Sales Ccrpersno.T (Discüxinon Cerne:) PO Sox £72.5 Bellvale Hoad. Chester. NYlOSiS. Telephone SN 4 8 2271. Telex; 236U3. F a r 914-«S 754< VIA FACSIMILE 5 PAGES TOTAL 011-429-222856 17 Seotember 1993 PO BOX 850 VALLEY FORGE. PA 19482-0860 TELEPHONE (215) 848-0806 FACSIMILE (216) 889-0242 An aMIIIaie of: Mrs. Rosemary Mountain B. SCHOTTS 103 Slwick Road SOEHNE Hartlepool, Cleveland SCHOTT and CO., LTD. ENGLAND TS25 9BB UNIVERSAL EDITION, VIENNA HE: Bartok MUSIC FOR STRINGS, PERCUSSION AND CELESTA UNIVERSAL EDITION, LONDON Dear Mrs. Mountain: Thank you for your fax of 9 September 1993 concerning the Also representing: use of excerpts from the above work in your Fh.D, thesis ARS VIVA for the University of Victoria, Canada. Fallowing is a VERLAG copy of our license for this use for your reference. EULEN8URG MINIATURE Please note that we are sending the originals by air mail SCORES today, kindly wait until they arrive, then sign and EUROPEAN return them as indicated in the last paragraph of the AMERICAN MUSIC license. CORPORATION FRANZ LEHAR'S Please note that we are authorized to license this use in GLOCKEN VERLAG the territory of Canada, only. Before University HAYON-MOZAHT PRESS Microfilms International in the United States can HELICON reproduce your dissertation, you need to contact the MUSIC copyright owner in Che United States, which ia as follows: CORPORATION LEA POCKET SCORES Boosey and Hawkes. Inc. MOECK VERLAG 24 East 21st Street ■ INSTRUMENTENWEHK New York, NY 10010 PHILHAHMONIA ohone (212) 228-3300 POCKET SCORES fax (212) 473-5730 SCHOTT FRERÉS SCHOTT JAPAN With kind regards, VIENNA URTEXT EDITION 2E N -0N (Contemporary) Caroline Kane Copyright Department r . z. 17 September 1993 Mrs. Rosemary îlountain 103 Elvlck Road Hartlepool, Cleveland HNGLAKD TS26 9BB RE: Bartok MUSIC FOR STRING INSTRUMENTS, PERCUSSION AND CELESTA, excerpts as listed on the attached PO BOX esc Schedule A, only VALLEY FORGE. PA 19482-0350 Dear Mrs. Mountain; TELEPHONE (215) 648-0605 FACSIM ILE (215) S8fr-0242 In accordance with your request of 9 September 1993, An Bfflllaie ol: which was forwarded to us by Universal Edition (London) B, SCHOTT'S Ltd., we hereby grant a non-exclusive license for you to SOEHNE use the above-mentioned excerpts in your doctoral SCHOTT and dissertation, provided the conditions listed below are CO., LTD. satisfied: UNIVERSAL EDITION, VIENNA UNIVERSAL 1. Under each excerpt, the following copyright EDITION, LONDON information must appear: Bartok MUSIC FOR STRING INSTRUMENTS, PERCUSSION AND Also represanttng; CELESTA ARS VIVA Copyright 1937 by Universal Edition VERLAG Copyright renewed EULENBURG All Rights Reserved MINIATURE SCORES Used in the territory of Canada by permission of EUROPEAN European American Music Distributors Corporation, AMERICAN sole U.S. and Canadian agent for Universal Edition MUSIC CORPORATION FRANZ LEHAR'S 2. Mention will be given us in the prefatory or appendix GLOCKEN VERLAG acknowledgements, if any. HAŸDN-M02ART PRESS 3. This permission is valid providing your doctoral HELICON MUSIC dissertation is completed within one (1) year of the CORPORATION date of this letter. LEA POCKET SCORES 4. This usage is restricted to your doctoral MOECK VERLAG - INSTRUMENTENWERK dissertation, which is not to be sold or distributed PHILHARMONIA in any manner whatsoever without the consent of the POCKET SCORES publisher, and is not to be reproduced except for the SCHOTT FRERÉS archives of the University of Victoria and the SCHOTT JAPAN National Library of Canada. VIENNA URTEXT EDITION ZEN-ON 5. This license is limited to distribution and usage in (Contemporary) the territory of Canada. 6. In consideration for the foregoing, you agree to pay European American Music Distributors Corporation a license fee of Thirty-five United States Dollars (S35.00 U.S.) which shall be paid when signed copies of this letter are returned to us. (continued) Mrs, Roseaary Mountain University of Victoria Page 2 17 September 1993 7. One (1) copy of your diesertaclon is to be provided to the publisher, gratis, upon completion thereof. Please signify your acceptance by signing and dating each copy of this letter where indicated below and returning both copies to us for countersignature. One fully executed document will then be mailed to you for your files. Sincerely yours, EUROPEAN AMERICAN MUSIC Accepted and agreed to: DISTRIBUTORS CORPORATION By;__________________________ By; 6 103 Elwick Road Sept. 9, 1993 Hartlepool, Cleveland England TS28 9BB cii'HS 'a<i ' ■ Tel: 0429-860232 Fax: 0429-222856 Deirdr© Batea copyright Division Universal Editions Warwick House 9 Warwick London WIR SRA Dear Ms. Bates, As per your request of our telephone conversation today, I am writing to ask permission to include hand-copied examples extracted from Bartok's Music for Strings, Percussion and Celesta in my Ph.D. thesis for the University of Victoria, _ Canada.^ The thesis will be microfilmed and deposited in the National Library of Canada and at University Microfilms International in the U.S.A. Although single copies of the thesis will then be available for sale by request from interested researchers, this is not a commercial publication and I will not be receiving any moneys from such sales. Naturally, I would acknowledge Universal editions in the preliminary pages o f the thesis if you grant me permission to include these examples, For your information, I enclose a list of the relevant examples. As the thesis concentrates on aspects of rhythmic periodicity, most of the examples are presented in condensed form, or display only a single melodic line or rhythmic pattern. Ex. 4,1 Bartok 11:199-203 (harp, Group II strings) Ex. 4.7 Bartok I: 76 (celesta) Tx. 4,8 Bartok ill; 36 (cel,/pno./hp,/cb.) Ex. 4.9 Bartok III: 66 (tutti, compressed - 5 staves) Ex. 5,1 Bartok I; 10-22 (tutti) Ex. S.2 Bartok I: 29-33 (tutti, compressed - 5 staves) Ex. 6.3 Bartok II: 310-338 (single stave - melody) Ex. 6,4 Bartok I: 65-69 (tutti) Ex. 5.5 Bartok II: 94-112 (tutti, compressed - 2-3 staves) Ex. 5.6 Bartok II: 287-300 (tutti, compressed - 5-7 staves) Ex, 5.7 Bartok II: 40-65 (tutti, compressed - 4 staves) Ex. 5.0 Bartok III: 6-12 (vie.1,2 / vln.1,3,4 - 1-4 staves) D. Sates -- copyright division — Ex. 5.9 Bartok Ill ; 50-53 (tytti, compressed - 4 staves) Ex. 5.10 Bartok IV: 121-129 (tutti, compressed - 4-6 staves) Fx. 6.1a Bartok I: 243-260 (tutti, compressed - 4 staves) Ex. 6.1b Bartok I; 264-285 (single stave - melody) Ex. 6.2a Bartok II: W-7 (single stave - melody) Ex. 6.2b Bartok II: 1-ls (composite rhythmic line) Ex. 6.3 Bartok II; 09-76 £vln.1, vc.1) Ex. 5,4 Bartok II: 373-377 (vln.1, timp.) Ex. 5.5 Bartok IV: 6-5 (vln. 2 5 3 / VC, 1) Ex. 6.6 Bartok IV: 15-16 (vln. 1 & 2) Ex. 5.7 Bartok IV: 28-40 (pno,/ vln, 1 / timp.) Ex. 6.8 Bartok IV: 74-83 (pno./hp.) Ex. 7 . 1 Bartok I: 78-73 (tutti, compressed - 4 staves) Ex. 7.2 Bartok 111 : 35 (tutti, compressed - 8 staves) Ex, 7.3a Bartok II: 113-120 (tutti, compressed - 3 staves) r.X.
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