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Perceptual Interactions of Pitch and Timbre: an Experimental Study on Pitch-Interval Recognition with Analytical Applications
Perceptual interactions of pitch and timbre: An experimental study on pitch-interval recognition with analytical applications SARAH GATES Music Theory Area Department of Music Research Schulich School of Music McGill University Montréal • Quebec • Canada August 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts. Copyright © 2015 • Sarah Gates Contents List of Figures v List of Tables vi List of Examples vii Abstract ix Résumé xi Acknowledgements xiii Author Contributions xiv Introduction 1 Pitch, Timbre and their Interaction • Klangfarbenmelodie • Goals of the Current Project 1 Literature Review 7 Pitch-Timbre Interactions • Unanswered Questions • Resulting Goals and Hypotheses • Pitch-Interval Recognition 2 Experimental Investigation 19 2.1 Aims and Hypotheses of Current Experiment 19 2.2 Experiment 1: Timbre Selection on the Basis of Dissimilarity 20 A. Rationale 20 B. Methods 21 Participants • Stimuli • Apparatus • Procedure C. Results 23 2.3 Experiment 2: Interval Identification 26 A. Rationale 26 i B. Method 26 Participants • Stimuli • Apparatus • Procedure • Evaluation of Trials • Speech Errors and Evaluation Method C. Results 37 Accuracy • Response Time D. Discussion 51 2.4 Conclusions and Future Directions 55 3 Theoretical Investigation 58 3.1 Introduction 58 3.2 Auditory Scene Analysis 59 3.3 Carter Duets and Klangfarbenmelodie 62 Esprit Rude/Esprit Doux • Carter and Klangfarbenmelodie: Examples with Timbral Dissimilarity • Conclusions about Carter 3.4 Webern and Klangfarbenmelodie in Quartet op. 22 and Concerto op 24 83 Quartet op. 22 • Klangfarbenmelodie in Webern’s Concerto op. 24, mvt II: Timbre’s effect on Motivic and Formal Boundaries 3.5 Closing Remarks 110 4 Conclusions and Future Directions 112 Appendix 117 A.1,3,5,7,9,11,13 Confusion Matrices for each Timbre Pair A.2,4,6,8,10,12,14 Confusion Matrices by Direction for each Timbre Pair B.1 Response Times for Unisons by Timbre Pair References 122 ii List of Figures Fig. -
ANATOLY ALEXANDROV Piano Music, Volume One
ANATOLY ALEXANDROV Piano Music, Volume One 1 Ballade, Op. 49 (1939, rev. 1958)* 9:40 Romantic Episodes, Op. 88 (1962) 19:39 15 No. 1 Moderato 1:38 Four Narratives, Op. 48 (1939)* 11:25 16 No. 2 Allegro molto 1:15 2 No. 1 Andante 3:12 17 No. 3 Sostenuto, severo 3:35 3 No. 2 ‘What the sea spoke about 18 No. 4 Andantino, molto grazioso during the storm’: e rubato 0:57 Allegro impetuoso 2:00 19 No. 5 Allegro 0:49 4 No. 3 ‘What the sea spoke of on the 20 No. 6 Adagio, cantabile 3:19 morning after the storm’: 21 No. 7 Andante 1:48 Andantino, un poco con moto 3:48 22 No. 8 Allegro giocoso 2:47 5 No. 4 ‘In memory of A. M. Dianov’: 23 No. 9 Sostenuto, lugubre 1:35 Andante, molto cantabile 2:25 24 No. 10 Tempestoso e maestoso 1:56 Piano Sonata No. 8 in B flat, Op. 50 TT 71:01 (1939–44)** 15:00 6 I Allegretto giocoso 4:21 Kyung-Ah Noh, piano 7 II Andante cantabile e pensieroso 3:24 8 III Energico. Con moto assai 7:15 *FIRST RECORDING; **FIRST RECORDING ON CD Echoes of the Theatre, Op. 60 (mid-1940s)* 14:59 9 No. 1 Aria: Adagio molto cantabile 2:27 10 No. 2 Galliarde and Pavana: Vivo 3:20 11 No. 3 Chorale and Polka: Andante 2:57 12 No. 4 Waltz: Tempo di valse tranquillo 1:32 13 No. 5 Dances in the Square and Siciliana: Quasi improvisata – Allegretto 2:24 14 No. -
Tradition As Muse Schoenberg's Musical Morphology and Nascent
Tradition as Muse Schoenberg's Musical Morphology and Nascent Dodecaphony by Áine Heneghan A dissertation submitted in candidacy for the degree of Doctor of Philosophy to The University of Dublin Trinity College March 2006 DECLARATION I, Áine Heneghan, declare that this thesis has not been submitted as an exercise for a degree at this or any other University and that it consists entirely of my own work. I agree that the Library may lend or copy the thesis upon request, this permission covering only single copies made for study purposes, subject to normal conditions of acknowledgement. Signed __________________ Áine Heneghan March 2006 Summary of the Dissertation Tradition as Muse: Schoenberg's Musical Morphology and Nascent Dodecaphony by Áine Heneghan The University of Dublin Trinity College March 2006 This study reappraises the evolution of Arnold Schoenberg's method of composing with twelve tones by examining the interrelationship of his theoretical writings and compositional practice. Premised on the idea that theory and practice were interdependent for Schoenberg, I argue, on the one hand, that the richness and diversity of his nascent dodecaphony can be fully appreciated only in the context of the development of his musical thought and, on the other hand, that his terminological concepts—for example, Grundgestalt, 'unfolding' [Abwicklung], the distinction between Satz and Periode (sentence and period), and the differentiation of 'stable' and 'loose' construction—came about precisely because of his compositional experiments during the early 1920s. The discussion and musical analyses of selected movements from the Klavierstücke, Op. 23, the Serenade, Op. 24, and the Suite für Klavier, Op. -
Composer Brochure
CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time. -
Musique Et Camps De Concentration
Colloque « MusiqueColloque et « campsMusique de concentration »et camps de Conseilconcentration de l’Europe - 7 et 8 novembre » 2013 dans le cadre du programme « Transmission de la mémoire de l’Holocauste et prévention des crimes contre l’humanité » Conseil de l’Europe - 7 et 8 novembre 2013 Éditions du Forum Voix Etouffées en partenariat avec le Conseil de l’Europe 1 Musique et camps de concentration Éditeur : Amaury du Closel Co-éditeur : Conseil de l’Europe Contributeurs : Amaury du Closel Francesco Lotoro Dr. Milijana Pavlovic Dr. Katarzyna Naliwajek-Mazurek Ronald Leopoldi Dr. Suzanne Snizek Dr. Inna Klause Daniel Elphick Dr. David Fligg Dr. h.c. Philippe Olivier Lloica Czackis Dr. Edward Hafer Jory Debenham Dr. Katia Chornik Les vues exprimées dans cet ouvrage sont de la responsabilité des auteurs et ne reflètent pas nécessairement la ligne officielle du Conseil de l’Europe. 2 Sommaire Amaury du Closel : Introduction 4 Francesco Lotoro : Searching for Lost Music 6 Dr Milijana Pavlovic : Alma Rosé and the Lagerkapelle Auschwitz 22 Dr Katarzyna Naliwajek–Mazurek : Music within the Nazi Genocide System in Occupied Poland: Facts and Testimonies 38 Ronald Leopoldi : Hermann Leopoldi et l’Hymne de Buchenwald 49 Dr Suzanne Snizek : Interned musicians 53 Dr Inna Klause : Musicocultural Behaviour of Gulag prisoners from the 1920s to 1950s 74 Daniel Elphick : Mieczyslaw Weinberg: Lines that have escaped destruction 97 Dr David Fligg : Positioning Gideon Klein 114 Dr. h.c. Philippe Olivier : La vie musicale dans le Ghetto de Vilne : un essai -
FROM the RUSSIAN MUSICAL HERITAGE Evseyev Taneyev
Evseyev Taneyev Tchaikovsky Wielhorski Davydov Nikolayeva FROM THE RUSSIAN MUSICAL HERITAGE Natalia Zagorinskaya, soprano Alexander Zagorinsky, cello Marina Evseyeva, piano SMC CD 0137 DDD/STEREO TT: 79.51 Sergey Vasilyevich Evseyev (1894 – 1956) Karl Yulyevich Davydov (1838 – 1889) 1 Sonate dramatique for Cello and Piano in C minor, ор. 38 10.46 15 “By the Fountain” for Cello and Piano in D major, op. 20 No. 2 4.22 Four Songs, ор. 1 Tatiana Petrovna Nikolayeva (1924 – 1993) 2 “It is tiresome and sad ” ( Mikhail Lermontov ) 3.06 3 “Dedication ” ( Mikhail Lermontov ) 2.02 16 Poem for Cello and Piano in E flat major, op. 20 8.22 4 “Russian Song ” ( Spiridon Drozhzhin ) 2.34 5 “Night ” ( K.R. – Konstantin Romanov ) 2.08 Natalia Zagorinskaya, soprano 6 Nocturne for Cello and Piano in A major, op. 68 5.08 Alexander Zagorinsky, cello 7 Sonata No.1 for Piano in G major, op. 2 6.30 Marina Evseyeva, piano Sergey Ivanovich Taneyev (1856 – 1915) Recorded at the Small Hall of the Moscow Tchaikovsky Conservatory, 8 Adagio cantabile from the Sonata for Violin and Piano in A minor 8.05 February – April, 2012 (arrangement for Cello and Piano by A. Egorov) Pyotr Ilyich Tchaikovsky (1840 – 1893) 9 “The Lights in the Rooms were Already Dimmed”, op. 63 No. 5 (K.R.) 2.36 Sound engineer: Mikhail Spassky 10 “I Wished to Say one Single Word” (Lev Mey, from Heinrich Heine) 1.46 Editing and mastering: Mikhail Spassky 11 “Charmer”, op. 65 No. 6 (Paul Collin, translated by A. Gorchakova) 1.24 Recording engineers: Svetlana Spasskaya, Andrey Lebedev 12 “Night”, op. -
Copyright by Robert Harry Hallis Jr 2004
Copyright by Robert Harry Hallis Jr 2004 The Dissertation Committee for Robert Harry Hallis Jr certifies that this is the approved version of the following dissertation: Reevaluating the Compositional Process of Anton Webern: 1910-1925 Committee: ______________________________ Elliott Antokoletz, Supervisor ______________________________ Hanns-Bertold Dietz ______________________________ Rebecca A Baltzer ______________________________ Kathleen Higgins ______________________________ Merianne Wheeldon Reevaluating the Compositional Process of Anton Webern: 1910-1925 by Robert Harry Hallis Jr, B.M.E., B.A., B.M., M.M., M.L.I.S. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2004 In loving memory of my mother. Preface The brevity of Anton Webern’s works is deceptive. Although his complete works can be performed in an afternoon, he is encountered in almost any critical discussion of music at the turn of the twentieth century. This treatise represents the fruits of several years of examining only a portion of his compositions within the scholarly discourse that has grown around his works. My interest in his compositions, however, began long before this, and extended beyond the compositional process of a single composer. As an undergraduate, I found it curious that such a brief corpus of works should have so profound an influence on the development of Western Music. As a student of composition, I was fascinated by the organization of his rows, and how he brought an extraordinary musical expression to a potentially mechanical succession of pitches. -
Toccata Classics TOCC0186 Notes
ANATOLY ALEXANDROV: PIANO MUSIC, VOLUME ONE by Malcolm MacDonald he ‘Russian Piano Tradition’ – a term widely used in scholarly discourse, though more oten in discussions of performance than of composition – is a distinct and yet insuiciently mapped and chronicled phenomenon of the late nineteenth and twentieth centuries. he rich and complex interrelationships of a legion of remarkable pianists, composer-pianists, pianist-pedagogues and composer-pedagogues established a dynamic of excellence and master-pupil relationships (especially but not exclusively conined to the Conservatoires of Moscow and St Petersburg/Leningrad) that saw the emergence of generation ater generation of great performers and great music, continually reacting upon one another. To mention the names only of – for example – the brothers Rubinstein, Pavel Pabst, Mily Balakirev, Karl Klindworth, Sergei Taneyev, Alexander Skryabin, Georgy Catoire, Felix Blumenthal, Sergei Lyapunov, Nikolai Medtner, Sergei Rachmaninov, Samuil Feinberg, Nikolai Myaskovsky,1 Sergei Prokoiev, Arthur Lourié, Nikolai Roslavets, Alexander Goldenweiser, Alexei Stanchinsky, Konstantin Igumnov, Leonid Nikolayev, Dmitri Shostakovich, Lev Oborin, Vladimir Sofronitsky, Maria Yudina, Herman Galynin, Emil Gilels, Viktor Merzhanov, Svyatoslav Richter, Vladimir Ashkenazy, Nikolai Kapustin – and not to P invoke the current astonishing elorescence of Russian pianistic talent – is to adduce evidence of one of the most vibrant and creative traditions in the history of the piano. Within this galaxy of mingled talent, mastery and genius the igure of Anatoly Nikolayevitch Alexandrov holds an honoured place at least in Russia, though outside it his name remains hardly known. He is a fascinating if eventually enigmatic igure.2 Clearly he was a survivor, for he lived a very long life by the standard of Soviet composers, dying in his nineties. -
2002 Mini Festival Wigmore Hall
Partnership with Andante Chairman, Pierre Berge; President, Alain Coblence The JMI International Forum for Suppressed Mu sic is ,\ l'.' J) (( l\: T E delighted to be presenting these concerts together with Andante, the new website and record label. Launched in April 2001, the Andante website provides a single, convenient location for information about classical music for music-lovers, professionals and curi ous newcomers alike. At www.and ante.com vi sitors will find news, reviews, commentary,' profe~sional and educational tools and access by subscription to a growing library of audio and vid eo programmes, including both new and historic recordings and current performances. The Andante co llection of co mpact discs, prese nted with ex tensi ve notes and illustrations, has been designed to preserve and advance the world's recorded classical music heritage, providing music lovers with a definitive library of the classical music essentials performed by the greatest artists of the twentieth and twenty-first centuries. In addition, beginning with these concerts, Andante is embarking on a long-term project of performances and live recordings of albums dedicated to 'Forbidden Mu sic', a worldwide his torical survey of important pieces of music written by persecuted com po sers and suppressed by tyrannies. These recordings will be available for purchase at the website's on -line shop, To become an Andante member, go to www.andante.com and click on Andante membership. Continental Britons: Jewish Refugees from Nazi Europe The Jewish Museum, 129-131 Albert Street, Camden Town, London NW1 7NB 8 May-20 October 2002, Mon-Thurs 10.00am-4.00pm, Sundays 10.00am-5.00pm Closed Jewish Festivals and Public Holidays. -
Composer Brochure | Works
Book 3.indb 2 John ADAMS ElliottCARTER 9/5/2008 12:08:42 PM John Adams Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 16 Chamber Orchestra 20 Solo Instrument(s) and Orchestra 21 TABLE OF CONTENTS TABLE Voice(s) and Orchestra 22 Ensemble and Chamber with out Voice(s) 23 Piano(s) 26 Instrumental 26 Miscellaneous 27 Arrangements 27 Recordings 29 Chronological List of Works 32 Boosey & Hawkes Addresses 34 Composer List Cover photo: Deborah O'Grady Book 3.indb 3 9/5/2008 12:08:42 PM The Music of John Adams ON I The strains of his grandfather’s lakeside New England dance hall were among the earliest layers of John Adams’s aural CT memory. So too were the marching bands in which he played clarinet as a young student. Learning the basic European DU canon in front of the family Magnavox, Adams readily O assimilated it alongside the crazy quilt of American vernacular R music he encountered in the early postwar decades. Duke Ellington is a recurrent inspiration, and Adams’s love of jazz— which returns in unexpected forms, such as the improvisatory NT I “hypermelody” of the Violin Concerto (1993) or the electric violin’s raga-like musings in The Dharma at Big Sur (2003)— was early nurtured by his parents’ activities in jazz groups. As a student at Harvard during the cataclysmic upheavals of the late Sixties, Adams experienced the cognitive dissonance of the arid pronouncements of contemporary serialists when confronted with the fresh, Dionysian inventiveness of this golden age of rock. -
Forgotten Russian Piano Music: the Sonatas of Anatoly Aleksandrov Irina Pevzner University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 1-1-2013 Forgotten Russian Piano Music: the Sonatas of Anatoly Aleksandrov Irina Pevzner University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons Recommended Citation Pevzner, I.(2013). Forgotten Russian Piano Music: the Sonatas of Anatoly Aleksandrov. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/2559 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. FORGOTTEN RUSSIAN PIANO MUSIC: THE SONATAS OF ANATOLY ALEKSANDROV by Irina Pevzner Bachelor of Music Mansfield University of Pennsylvania, 2000 Master of Music Carnegie Mellon University, 2003 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2013 Accepted by: Marina Lomazov, Major Professor Chairman, Examining Committee Charles Fugo, Committee Member Joseph Rackers, Committee Member Ellen Exner, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies Copyright by Irina Pevzner, 2013 All Rights Reserved ii ACKNOWLEDGEMENTS I would like to acknowledge several individuals, who played an important role in preparation of the current document. Above all, I would like to distinguish Dr. Marina Lomazov, my piano professor and the director of the dissertation committee, for inspiring me to achieve a higher level of musicianship and guiding me with unreserved care and perseverance to become a more confident and competent performer. -
March 2017 Representing Today’S Great Labels This Month's Highlights
CONSUMER INFORMATION SERVICE: NO. 302 MARCH 2017 REPRESENTING TODAY’S GREAT LABELS THIS MONTH'S HIGHLIGHTS Select Music and Video Distribution Limited 3 Wells Place, Redhill, Surrey RH1 3SL Tel: 01737 645600 Fax: 01737 644065 Index Please click on a label below to be directed to its relevant page. Thank you. CDs BIS ............................................................................................................................page 5 BR Klassik ...................................................................................................................page 6 Capriccio .................................................................................................................. page 14 Cedille Records .......................................................................................................... page 15 Champs Hill Records .....................................................................................................page 9 Chandos .....................................................................................................................page 4 Claudio Records ...........................................................................................................page 9 Concerto Classics ....................................................................................................... page 15 Coro...........................................................................................................................page 6 CPO .......................................................................................................................