OCCM Catalog
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
2005: Boston/Cambridge
PROGRAM and ABSTRACTS OF PAPERS READ at the Twenty–Eighth Annual Meeting of the SOCIETY FOR MUSIC THEORY 10–13 November 2005 Hyatt Regency Cambridge Boston/Cambridge, Massachusetts 2 SMT 2005 Annual Meeting Edited by Taylor A. Greer Chair, 2005 SMT Program Committee Local Arrangements Committee David Kopp, Deborah Stein, Co-Chairs Program Committee Taylor A. Greer, Chair, Dora A. Hanninen, Daphne Leong, Joel Lester (ex officio), Henry Martin, Shaugn O’Donnell, Deborah Stein Executive Board Joel Lester, President William Caplin, President-Elect Harald Krebs, Vice President Nancy Rogers, Secretary Claire Boge, Treasurer Kofi Agawu Lynne Rogers Warren Darcy Judy Lochhead Frank Samarotto Janna Saslaw Executive Director Victoria L. Long 3 Contents Program…………………………………………………………........ 5 Abstracts………………………………………………………….…... 16 Thursday afternoon, 10 November Combining Musical Systems……………………………………. 17 New Modes, New Measures…………………………………....... 19 Compositional Process and Analysis……………………………. 21 Pedagogy………………………………………………………… 22 Introspective/ Prospective Analysis……………………………... 23 Thursday evening Negotiating Career and Family………………………………….. 24 Poster Session…………………………………………………… 26 Friday morning, 11 November Traveling Through Space ……………………………………….. 28 Schenker: Interruption, Form, and Allusion…………………… 31 Sharakans, Epithets, and Sufis…………………………………... 33 Friday afternoon Jazz: Chord-Scale Theory and Improvisation…………………… 35 American Composers Since 1945……………………………….. 37 Tonal Reconstructions ………………………………………….. 40 Exploring Voice Leading.……………………………………….. -
1 Chapter 1 a Brief History and Critique of Interval/Subset Class Vectors And
1 Chapter 1 A brief history and critique of interval/subset class vectors and similarity functions. 1.1 Basic Definitions There are a few terms, fundamental to musical atonal theory, that are used frequently in this study. For the reader who is not familiar with them, we present a quick primer. Pitch class (pc) is used to denote a pitch name without the octave designation. C4, for example, refers to a pitch in a particular octave; C is more generic, referring to any and/or all Cs in the sonic spectrum. We assume equal temperament and enharmonic equivalence, so the distance between two adjacent pcs is always the same and pc C º pc B . Pcs are also commonly labeled with an integer. In such cases, we will adopt the standard of 0 = C, 1 = C/D, … 9 = A, a = A /B , and b = B (‘a’ and ‘b’ are the duodecimal equivalents of decimal 10 and 11). Interval class (ic) represents the smallest possible pitch interval, counted in number of semitones, between the realization of any two pcs. For example, the interval class of C and G—ic(C, G)—is 5 because in their closest possible spacing, some C and G (C down to G or G up to C) would be separated by 5 semitones. There are only six interval classes (1 through 6) because intervals larger than the tritone (ic6) can be reduced to a smaller number (interval 7 = ic5, interval 8 = ic4, etc.). Chapter 1 2 A pcset is an unordered set of pitch classes that contains at most one of each pc. -
George Perle's Twelve–Tone Tonality: Some Developments For
----- George Perle’s Telmo Marques Research Center for Science and Twelve–Tone Tonality: Technology of the Arts (CITAR). Portuguese Catholic University | Some Developments Porto | Portugal ----- for CAC using PWGL [email protected] ----- Paulo Ferreira-Lopes Research Center for Science and Technology of the Arts (CITAR). Portuguese Catholic University | Porto | Portugal ----- [email protected] ----- ABSTRACT perfectly powerful and suitable to process lists of integers — and it is specialized in CAC. This paper presents a description and some developments on Perle’s theory and compositional Keywords: George Perle; Twelve-Tone Tonality system known as Twelve-Tone Tonality, a system that, (TTT); Twelve-Tone Music; Structural Symmetry; because of its characteristics and fundamentals, is PWGL; Computer Aided Composition (CAC); currently associated with Schoenberg dodecaphonic Interval Cycles; Composition Techniques and system. Some research has been made in the last few Systems; Music Theory decades in order to develop his model in a Computer Assisted Composition (CAC) environment. After 1 | INTRODUCTION some efforts in order to analyse these prototypes, we realize that in general they were discontinued or George Perle’s Twelve-Tone Tonality (TTT) seems to outdated. be an almost forgotten issue in compositional and analytical common practice. It is difficult today to A three-scope proposal is so outlined: Firstly, to understand the reasons why his TTT system is not simplify the grasp of a system that presents an easily taught worldwide and consistently in music schools understandable starting premise but afterwards and conservatories. As Rosenhaus referred, “only a enters a world of unending lists and arrays of few musicians know the system and are in a position to letters and numbers; Secondly, to present the teach others its use” (Rosenhaus, 1995, p. -
MTO 13.3: Foley, Efficacy of K-Nets in Perlean Theory
Volume 13, Number 3, September 2007 Copyright © 2007 Society for Music Theory Gretchen C. Foley REFERENCE: ../mto.07.13.2/mto.07.13.2.buchler.php Received July 2007 [1] This response addresses two topics in Michael Buchler’s article “Reconsidering Klumpenhouwer Networks,” namely relational abundance and the issue of hierarchy and recursion. In the abstract preceding his essay Buchler states that “K-nets also enable us to relate sets and networks that are neither transpositionally nor inversionally equivalent, but this is another double-edged sword: as nice as it is to associate similar sets that are not simple canonical transforms of one another, the manner in which K-nets accomplish this arguably lifts the lid off a Pandora’s Box of relational permissiveness.” I will confine my remarks to K-nets and their applicability to George Perle’s compositional theory of twelve-tone tonality. In so doing, I hope to demonstrate that not only are K-nets “nice” to use in associating similar sets, they are highly efficient tools in a Perlean context. K-nets and Cyclic Sets [2] In order to establish the efficacy of K-nets in Perlean theory, we must first define cyclic sets, arrays, and axis-dyad chords. A cyclic set combines two inversionally related interval cycles, such as interval 7 and interval 5. When the members of the two cycles are placed in alternation, every pair of alternating pcs shows a consistent difference, representing the formative interval cycle. In Figure 1 the pcs in open noteheads show the cyclic interval 7, and the alternating pcs in closed noteheads show the inversionally related cycle 5. -
A Model of Triadic Post-Tonality for a Neoconservative Postmodern String Quartet by Sky Macklay
arts Article A Model of Triadic Post-Tonality for a Neoconservative Postmodern String Quartet by Sky Macklay Zane Gillespie Independent Researcher, Memphis, TN, 38111, USA; [email protected] Academic Editors: Ellen Fallowfield and Alistair Riddell Received: 18 February 2017; Accepted: 12 September 2017; Published: 28 September 2017 Abstract: This article proposes a non-plural perspective on the analysis of triadic music, offering Sky Macklay’s Many Many Cadences as a case study. Part one is a discussion of the work’s harmony-voice leading nexus, followed by a discussion of the five conditions of correspondence as implied by this string quartet that articulate a single tonal identity. Part three focuses on a strictly kinematic analysis of the work’s harmonic progressions that evinces this identity and establishes its general applicability. In the final section, the data generated by this analysis conveys the inherent possibility of a single, all-encompassing kinematic, thereby pointing beyond the particularities of Many Many Cadences while informing my formal interpretation of the work. Keywords: triadic post-tonality; harmonic analysis; Sky Macklay; Many Many Cadences; voice-leading parsimony 1. Background and Introduction Sky Macklay is an emerging, New York-based composer and oboist. Her music explores post-minimalist contrasts, audible processes, theatre, and the visceral nature of the cognition of sound. Her works have been performed by ensembles such as International Contemporary Ensemble (ICE), Yarn/Wire, Spektral Quartet, Mivos Quartet, Dal Niente, Da Capo Chamber Players, Firebird Ensemble, Hexnut, The University of Memphis Contemporary Chamber Players, The Luther College Concert Band, Luna Nova, and PRIZM. Her piece Dissolving Bands was commissioned and premiered by The Lexington Symphony in Lexington, Massachusetts. -
Counterpoint and Polyphony in Recent Instrumental Works of John Adams Alexander Sanchez-Behar
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Counterpoint and Polyphony in Recent Instrumental Works of John Adams Alexander Sanchez-Behar Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC COUNTERPOINT AND POLYPHONY IN RECENT INSTRUMENTAL WORKS OF JOHN ADAMS By ALEXANDER SANCHEZ-BEHAR A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2008 The members of the Committee approve the dissertation of Alexander Sanchez- Behar defended on November 6, 2007. Michael Buchler Professor Directing Dissertation Charles E. Brewer Outside Committee Member Jane Piper Clendinning Committee Member Nancy Rogers Committee Member Matthew R. Shaftel Committee Member The Office of Graduate Studies has verified and approved the above named committee members ii Dedicated to my parents iii ACKNOWLEDGMENTS I would like to express my sincere gratitude first and foremost to my advisor, Michael Buchler, for his constant support on all aspects of my dissertation. His inspiring approach to music theory stimulated much of my own work. I am indebted to the rest of my dissertation committee, Charles E. Brewer, Jane Piper Clendinning, Nancy Rogers, and Matthew Shaftel, for their encouragement. I also wish to convey my appreciation to Professors Evan Jones, James Mathes, and Peter Spencer. I would also like to acknowledge former music professors who influenced me during my years as a student: Candace Brower (my master’s thesis advisor), Robert Gjerdingen, Richard Ashley, Mary Ann Smart, John Thow, Michael Orland, Martha Wasley, Kirill Gliadkovsky, James Nalley, and David Goodman. -
What Is Tonality?
International Journal of Musicology 4 . Igg5 29r David Pitt (New york, N.y.) What is Tonality? Zusammenfassung: Was ist Tonalitat? Der AufsatT qrbeitet ein Bitd des We_ sens der Tonaritiit heraus, das nach Ansicht des verfasser, ; Gr;';g" perre,s werk ilber die nach-diatonische Mysik impriziert ist. Es ist eine Grundpriimis- se dieses werkes, daf die weit verbreitet) Annahme, Tonaritcit sei eine Frage der Bezogenheit auf einen zentrarton oder eine sorche der Dreikratngsharmo- nik, verfehlt ist. Perle hy je-doch nirgends eine alternative Kennzeichnung an_ geboten. Nach Ansicht perles des Verfasseis ist es impliaierte Miinrng, Musik sei tonal, wenn ihre vo.r(ergriin(igen Ereigniss" ,ri ih* nryinirng erschi)p_ auf einen einheitlichen, fend prrikimpositiinellen Hintergrun| u"zr"'huo, ,ind. l. Introduction. It is, I should think, welr known. perre that George hords the foilowing nega_ tive views on the nature of tonality: it is nJt, as is usually ,uppor"J, a matter of "tone-centeredness," whether based on a 'lnaturar,' trieiarcrry of pitches de_ rived from the overtone series or an "artificial" precompositionai Jrae.ing or the pitch material;r nor is it essentially .onn"rt"i to the kinds oi pit"r, ,t*"_ tures one finds in traditionar diatonic music (viz., major and minoistates ana triads). That the diatonic system, with its tone-centered keys and modes, is not the only precompositional orderi^ng of the pitch material capable of serving as the basis for the composition of tnal ruri" i, a point perle has argued for I According to Dalhaus (19g0) (pp. ,,In 51-52), for example, common usage the term ['tonality'] denores .. -
Compositional System of Osvaldas Balakauskas
G. DAUNORAVIČIENĖ • COMPOSITIONAL SYSTEM OF ... UDK 78.071.1(474.5)Balauskas O.:781.6 DOI: 10.4312/mz.54.2.45-95 Gražina Daunoravičienė Lithuanian Academy of Music and Theatre Litvanska akademija za glasbo in gledališče Compositional System of Osvaldas Balakauskas: An Attempt to Restore the Theoretical Discourse Kompozicijski sistem Osvaldasa Balakauskasa: Poizkus obnovitve teoretičnega diskurza Prejeto: 19. julij 2018 Received: 19th August 2018 Sprejeto: 21. avgust 2018 Accepted: 21st August 2018 Ključne besede: dvanajsttonska tehnika, dode- Keywords: twelve-tone technique, dodecatonics, katonika, modalnost, litvanska glasba, teoretič- modal system, Lithuanian music, theoretical-com- no-kompozicijski sistem, Osvaldas Balakauskas, positional system, Osvaldas Balakauskas, forma- formalizem, sovjetski modernizem. lism, Soviet Modernism. IZVLEČEK ABSTRACT Razprava se v kontekstu modernizacije litvanske Against the background of the Lithuanian profe- profesionalne glasbe v času od poznega sovjetske- ssional music modernisation over the late Soviet ga obdobja do zgodnjega 21. stoletja osredotoča period through to the early 21st century, the study na teoretično-kompozicijski sistem dodekatonike, focuses on the theoretical-compositional system kakršnega je razvil najbolj dosledni litvanski mo- of dodecatonics by the most consistent Lithuanian dernist Osvaldas Balakauskas (r. 1937). Na podlagi modernist Osvaldas Balakauskas (b. 1937). Based on konceptualizacije skladateljevega ustvarjalnega it, the conceptualisation of the composer’s creative -
Symmetrical and Geometrical Cycles in Twelve-Tone Composition: Developments Toward a New Model
A. Georgaki and G. Kouroupetroglou (Eds.), Proceedings ICMC|SMC|2014, 14-20 September 2014, Athens, Greece Symmetrical and Geometrical Cycles in Twelve-Tone Composition: Developments Toward a New Model Telmo Marques Paulo Ferreira-Lopes Research Center for Science and Research Center for Science and Technology of the Arts (CITAR) Technology of the Arts (CITAR) Portuguese Catholic University, Porto Portuguese Catholic University, Porto [email protected] [email protected] ABSTRACT The available studies around composers of the so-called Second Viennese School prove that the choice of the set The development of a pre-compositional model is pro- was never taken randomly or unsystematically. Features posed in this study based on two systems with two design such as melodic contour, intervallic relationship, symmet- perspectives: Schoenberg’s Serialism and Perle’s Twelve- rical properties, invariance, segmentation, and other rele- Tone Tonality (from now on TTT). Schoenberg’s per- vant aspects were studied and experimented patiently spective reveals a linear design where the set has func- (sometimes to exhaustion) by these composers before the tions like those of a motive; on the other hand, Perle’s final selection of the set. It is this ‘unique’ set that design result in harmonic simultaneities based on sym- Schoenberg called the motive, the linear stating at the metric cycles. The authors propose a model for 12-tone beginning of the work that proposes a reflexive approach composition that assumes an interactive approach be- of characteristic reference of the set that leads to the de- tween the horizontal and the vertical statements toward a sired unity of the work as a whole. -
Ramsey Theory, Unary Transformations, and Webern's Op
Ramsey Theory, Unary Transformations, and Webern's Op. 5, No. 4* David Clampitt This paper explores a collection of pitch-class sets that, although strikingly different by most measures, share a graph- theoretical property defined below. A refinement on this property for sets with seven to twelve elements isolates five set classes, two of cardinality 7 and three of cardinality 8, four of which are notable for their musical importance. These include the usual diatonic (7-35, in Forte's taxonomy of set classes), the octatonic set class (8-28), the diatonic-plus-a-fifth (8-23), and Messiaen's mode four (8-9), a set that plays a role in the movement by Webern discussed herein. The maverick in this group is the heptachord 7-29: {0124679}. Yet another refinement on the property uniquely isolates the usual diatonic and the octatonic, perhaps the most productive larger subsets of the aggregate. This exercise forms part of an ongoing investigation into the abstract features of certain collections in the pitch domain that support more or less extensive musical repertoires. The diatonic collection is a celebrated case in point, and in the last few decades it has been studied from a variety of perspectives. Similarly, the highly symmetrical pitch-class sets, including Messiaen's modes of limited transposition, have received much attention, particularly for their importance in twentieth-century music. This paper studies a property that captures a number of musically significant sets and asks what else they have in common and how that might account for their musical potential. A version of this paper was presented at the annual conference of Music Theory Midwest, on May 17, 1996, at Western Michigan University. -
Successful Proposal Samples
Presenting at a Conference Committee on Professional Development Society for Music Theory 2007 How to Write a Proposal Joseph N. Straus Graduate Center, CUNY I. Before you start writing A. Choose a topic 1. Seminar papers 2. Dissertation 3. Conference papers and articles by other people B. Work collaboratively 1. Advisor and professors at your school 2. Colleagues 3. Outsiders within your emerging network C. Use resources provided by SMT 1. Mentoring programs through CPD and CSW 2. CPD website D. Do a substantial amount of the actual work E. Study the Call for Papers and follow the instructions II. Writing the proposal: Six generic conventions (with thanks to Frank Samarotto, Sigrun Heinzelmann, Daphne Leong, Andrew Pau, Michael Klein, Ed Gollin, and Michael Buchler) 1. State the problem (and say why it’s important and interesting). None of the four movements that fulfill the function of the traditional Scherzo and Trio in Brahms’s symphonies seem quite to fit that role. Indeed, each among the four seems to be in various ways both superficial and subtle to be unique unto itself. The third movement of the First Symphony resembles on its surface neither a scherzo nor a minuet; as a duple-meter lyric pastoral in an apparent ternary form, it might be more appropriately characterized as an intermezzo. (Samarotto) Motivic analysis of music that does not strictly belong in either category [tonal or post- tonal], such as music of the early 20th Century, poses difficulties not sufficiently addressed by a single tradition. (Heinzelmann) The attention paid by the music-theoretic community to Milton Babbitt’s oeuvre has focused largely on structural attributes, and to a lesser degree on listening experience and critical reaction, neglecting in large part performing experience (particularly that of performers who are not also theorists). -
Lietuvos Muzikologija 19.Indd
Lietuvos muzikologija, t. 19, 2018 Gražina DAUNORAVIČIENĖ Classes and Schools of Lithuanian Composers: A Genealogical Discourse Lietuvos kompozitorių klasės ir mokyklos: genealogijos diskursas Lietuvos muzikos ir teatro akademija, Gedimino pr. 42, LT-01110, Vilnius, Lietuva Email [email protected] Abstract The article addresses issues related to the development of the system for composition studies in Lithuania and beyond. Even though the ‘composition school’ notion has been featuring in musicological texts for quite some time, as a theoretical definition, it has received little reflection and conceptualisation. A study of different musicological texts shows that the notion is actually used to describe different phenom- ena and is not perceived differentially to this day. Theoretical discourse lacks in fundamental research aimed at uncovering the whole range of its meanings. This study is based on the hierarchical trinomial concept of the composition school proposed by Algirdas Jonas Ambrazas in his habilitation thesis entitled The Development of the Composition School of Juozas Gruodis and Other Lithuanian Composers (1991). The paper gives a brief historical and factual account of the emergence of the Lithuanian composition school. A particular focus is placed on the analysis of the creative approach and teaching methods of teachers associated with major Lithuanian composition classes and schools, namely Juozas Gruodis, Julius Juzeliūnas, Eduardas Balsys and Osvaldas Balakauskas. The relationship of these composition classes and schools with the national modernism idea articulated by Gruodis is investigated. The article delineates the difference between the two nonequivalent con- cepts, ‘composition class’ and ‘composition school’. From a genealogical point of view, the author defines two primary composition teaching schools – one of Gruodis and the other of Balakauskas – in the history of Lithuanian musical culture.