DOCSLIB.ORG

Implicit Learning As a Means of Tonal Jazz Pitch- Listening Skills Acquisition David Mosher

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Implicit Learning As a Means of Tonal Jazz Pitch- Listening Skills Acquisition David Mosher University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses 2019 Implicit Learning As A Means Of Tonal Jazz Pitch- Listening Skills Acquisition David Mosher Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Music Pedagogy Commons, and the Music Theory Commons Recommended Citation Mosher, David, "Implicit Learning As A Means Of Tonal Jazz Pitch-Listening Skills Acquisition" (2019). Doctoral Dissertations. 1497. https://scholarworks.umass.edu/dissertations_2/1497 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. IMPLICIT LEARNING AS A MEANS OF TONAL JAZZ PITCH-LISTENING SKILLS ACQUISITION A Dissertation Presented by DAVID MOSHER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2019 Music Music Theory © Copyright by David Mosher 2019 All Rights Reserved Implicit Learning As A Means Of Tonal Jazz Pitch-Listening Skills Acquisition A Dissertation Presented By DAVID MOSHER Approved as to style and content by: ____________________________________________________ Gary S. Karpinski, chair ____________________________________________________ Stefan Love, member ____________________________________________________ Felipe Salles, member ____________________________________________________ Lisa Sanders, member ____________________________________________________ Roberta M. Marvin, Department Head Department of Music and Dance DEDICATION To Reneé, Zachary, and Jace. You light my world. ACKNOWLEDGMENTS The creation of this document did not happen in a vacuum. Throughout the process, I have been fortunate to have as my advisor, Dr. Gary S. Karpinski, who provided much in the way of thought-provoking conversations and insightful feedback coming from a wealth of knowledge regarding aural skills training from a cognitive- perceptual frame of reference. I am also most certainly indebted to Dr. Stefan Love, who graciously extended to me many knowledgeable suggestions and helpful commentary springing both from a deep knowledge of music theory and of jazz theory in particular. I further extend my sincere gratefulness to Dr. Felipe Salles for imparting to me his incredible experience and firm grasp of jazz musical thought and performance. Foundational to the project was the commentary of Dr. Lisa Sanders, providing me incredible expert advice from the fields of cognition and perception. To my entire committee, I offer my deep appreciation for all of your support. In addition to my committee, I would like to express my thankfulness to friends and family who have encouraged and stuck with me through the ups and downs inevitable in any project of this size and depth. Lastly, and with the most heartfelt and undying affection, I thank my wife, Reneé Kathleen Gonzales Mosher, who has been my enabler. She has been an ever-present source of strength and support without which this project would never have come to completion. v ABSTRACT IMPLICIT LEARNING AS A MEANS OF TONAL JAZZ PITCH-LISTENING SKILLS ACQUISITION FEBRUARY 2019 DAVID MOSHER, B.M., HOWARD PAYNE UNIVERSITY M.M., UNIVERSITY OF HOUSTON Ph.D., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Gary S. Karpinski In this dissertation, I present a method for developing tonal jazz pitch-listening skills (PLS) which is rooted in scientific experimental findings from the fields of music cognition and perception. Converging experimental evidence supports the notion that humans develop listening skills through implicit learning via immersive, statistically rich exposure to real music from a particular musical idiom, such as tonal jazz. Therefore, I recommend that to acquire tonal jazz pitch-listening skills, learners should (1) immerse themselves in the real music of that idiom, (2) remediate their listening skills, where necessary, by listening to slowed-down versions with exaggerated features, and (3) organize their listening experiences with explicit theoretical labels for particular pitch structures, if they want to communicate about those pitch structures in speech or writing. In order to aid in the practical application of this process, I offer a four-semester learning sequence for the development of tonal jazz pitch-listening skills as well as a variety of formal assessment methods. vi TABLE OF CONTENTS Page ACKNOWLEDGMENTS .............................................................................................. v ABSTRACT ................................................................................................................... vi LIST OF FIGURES ....................................................................................................... xi CHAPTER 1. THE FRAMING AND SCOPE OF THE TOPIC ................................................. 1 1.1 Introduction ......................................................................................................... 1 1.2 Statement of the Problem .................................................................................... 1 1.3 Research Questions ............................................................................................. 2 1.4 Significance of the Study .................................................................................... 2 1.5 Methodology ....................................................................................................... 3 1.6 Principles Underlying My Recommendations .................................................... 4 1.7 Organization of the Study ................................................................................... 5 1.8 Limitations .......................................................................................................... 5 2. SUMMARY OF MUSIC COGNITION AND PERCEPTION LITERATURE ON PITCH PROCESSING.............................................................................................. 7 2.1 Preliminaries ....................................................................................................... 7 2.1.1 The Relevance of Pitch-Listening Skill Development to Jazz Musicians . 7 2.1.2 Pitch: Definition and Scope of Engagement .............................................. 8 2.1.3 The Rate of PLS Development .................................................................. 9 2.1.4 Tonality .................................................................................................... 10 2.1.5 The Problem of Function: Anatomy and Physiology of Pitch Entities .... 11 2.1.6 Implicit Learning Explained .................................................................... 13 2.2 A List of Some Important PLS ......................................................................... 16 2.3 Expectations ...................................................................................................... 17 2.3.1 Memory and Expectation ......................................................................... 18 2.3.2 Creating a Set of Expectations ................................................................. 20 2.3.3 Melodic Structure Across Stylistic Boundaries ....................................... 21 2.3.4 Melodic Expectations Across Stylistic Boundaries ................................. 23 2.3.5 Dynamically Unfolding Melodic Expectations ....................................... 26 2.3.6 Musical Statistical Regularities................................................................ 28 2.3.7 General Musical Expectations ................................................................. 29 vii 2.3.8 Shared Canon, Shared Expectations, Room for Evolution ...................... 31 2.3.9 Style-Specific Expectations ..................................................................... 32 2.3.10 Style-Specific Melodic Expectations ..................................................... 34 2.4 The Effects of Context on PLS ......................................................................... 35 2.5 The Effects of Musical Training on PLS .......................................................... 37 2.5.1 Musicians and Nonmusicians .................................................................. 38 2.5.2 Playing an Instrument and PLS Development ......................................... 38 2.6 Factors Influencing the Rate and Quality of PLS Development....................... 40 2.6.1 Creating an Attitude of Addiction as a Means to PLS Development ...... 40 2.6.2 Creating an Environment Conducive to Music Learning and PLS Development ............................................................................................ 40 2.6.3 The Critical Period, Brain Plasticity and PLS Development ................... 42 2.6.4 Individuated Instruction, The Zone of Proximal Development, and Targeted Remediation .............................................................................. 43 2.6.5 Explicit Learning Enhances Implicit Learning ........................................ 45 2.6.5.1 The Role of Mental Representations in Pitch Processing ............... 46 2.6.5.2 Gestalt Recognition ......................................................................... 47 2.6.5.3 Chunking and Operations on Alphabets ........................................
Load more

Recommended publications
  • Abstracts Euromac2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014
    Edited by Pieter Bergé, Klaas Coulembier Kristof Boucquet, Jan Christiaens 2014 Euro Leuven MAC Eighth European Music Analysis Conference 17-20 September 2014 Abstracts EuroMAC2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014 www.euromac2014.eu EuroMAC2014 Abstracts Edited by Pieter Bergé, Klaas Coulembier, Kristof Boucquet, Jan Christiaens Graphic Design & Layout: Klaas Coulembier Photo front cover: © KU Leuven - Rob Stevens ISBN 978-90-822-61501-6 A Stefanie Acevedo Session 2A A Yale University [email protected] Stefanie Acevedo is PhD student in music theory at Yale University. She received a BM in music composition from the University of Florida, an MM in music theory from Bowling Green State University, and an MA in psychology from the University at Buffalo. Her music theory thesis focused on atonal segmentation. At Buffalo, she worked in the Auditory Perception and Action Lab under Peter Pfordresher, and completed a thesis investigating metrical and motivic interaction in the perception of tonal patterns. Her research interests include musical segmentation and categorization, form, schema theory, and pedagogical applications of cognitive models. A Romantic Turn of Phrase: Listening Beyond 18th-Century Schemata (with Andrew Aziz) The analytical application of schemata to 18th-century music has been widely codified (Meyer, Gjerdingen, Byros), and it has recently been argued by Byros (2009) that a schema-based listening approach is actually a top-down one, as the listener is armed with a script-based toolbox of listening strategies prior to experiencing a composition (gained through previous style exposure). This is in contrast to a plan-based strategy, a bottom-up approach which assumes no a priori schemata toolbox.
    [Show full text]
  • CMS-Southern Chapter/SCSMT Joint Conference
    CMS-Southern Chapter/SCSMT Joint Conference February 28 – March 1, 2020 Blair School of Music Vanderbilt University Nashville, Tennessee A Message from the CMS Southern Chapter President Welcome to the 41st Annual Conference of the CMS Southern Chapter! We are back together after a very successful 40th anniversary meeting last year at the University of Central Florida in Orlando. It was a fantastic event and moment of reflection for many who have been involved in the Southern Chapter over the years. This year we are excited to be in Nashville, Tennessee. All conference activities will take place at the Blair School of Music, Vanderbilt University. We extend our gratitude to the Blair School of Music for hosting our many performances, demonstrations, papers, posters, and concerts. We are also incredibly thankful to our hosts from Belmont University, Kristian Klefstad and Mark Volker. We appreciate your dedication to the chapter and work to organize a conference with so many moving parts and scheduling challenges. Thank you! This year’s conference is held jointly with the annual meeting of the South Central Society of Music Theory. We hope that attendees from CMS and SCSMT learn from each other and connect to form new friendships, opportunities, and dialogues. We welcome our friends from SCSMT! This year’s conference theme is “Improvisation: Science, Practice, and Pedagogy.” Our program features many excellent sessions and performances that center on this topic. We are excited to welcome four guest speakers to our conference: Martin Norgaard, Dennis Thurmond, Dariusz Terefenko, and Andrew Goldman. We are certain you will enjoy all of these sessions and workshops with our esteemed guests.
    [Show full text]
  • 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.………………………………………..
    [Show full text]
  • Wadsworth, Directional Tonality in Schumann's
    Volume 18, Number 4, December 2012 Copyright © 2012 Society for Music Theory Directional Tonality in Schumann’s Early Works* Benjamin K. Wadsworth NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.12.18.4/mto.12.18.4.wadsworth.php KEYWORDS: Schumann, monotonality, directional tonality, tonal pairing, double tonic complex, topic, expressive genre ABSTRACT: Beginning and ending a work in the same key, thereby suggesting a hierarchical structure, is a hallmark of eighteenth- and nineteenth-century practice. Occasionally, however, early nineteenth-century works begin and end in different, but equally plausible keys (directional tonality), thereby associating two or more keys in decentralized complexes. Franz Schubert’s works are sometimes interpreted as central to this practice, especially those that extend third relationships to larger, often chromatic cycles. Robert Schumann’s early directional-tonal works, however, have received less analytical scrutiny. In them, pairings are instead diatonic between two keys, which usually relate as relative major and minor, thereby allowing Schumann to both oppose and link dichotomous emotional states. These diatonic pairings tend to be vulnerable to monotonal influences, with the play between dual-tonal (equally structural) and monotonal contexts central to the compositional discourse. In this article, I adapt Schenkerian theory (especially the modifications of Deborah Stein and Harald Krebs) to directional-tonal structures, enumerate different blendings of monotonal and directional-tonal states, and demonstrate structural play in both single- and multiple-movement contexts. Received July 2012 [1] In the “high tonal” style of 1700–1900, most works begin and end in the same key (“monotonality”), thereby suggesting a hierarchy of chords and tones directed towards that tonic.
    [Show full text]
  • 131 with G in the Bass, Shown Below in Example 4.9. As with the G Minor
    with G in the bass, shown below in Example 4.9. As with the G minor that never arrived, C minor would have been closely related to the home key. This time, however, it would have been as its submediant instead of its mediant. Finally, landing on C minor instead of C major would have avoided the enharmonic paradox on pitch-class 4. Beginning of B section mm. 32 – 33 c: VI V11 I C minor anticipated C major arrives (A¼ and E¼) Example 4.9 Poulenc, Piano Concerto, second movement, first part of B section, mm. 32–33, anticipation of the minor mode and unexpected arrival of C major The primary key areas of this first part of the B section, C major, E major, and A¼ major, are summarized in Example 4.10. The keys tonicized for a shorter duration, shown as quarter notes, are included to show relationships with the main keys. Justification for relating C major back to G major, instead of giving it its own major- minor complex, will be given below. 131 B section (part 1): Mm. 33 35 37 40 45 46 transition first theme 1 2 E¼/e¼: (key of IV or iv……………..........) G/g: IV A¼/a¼: ii i VI i I Example 4.10 Poulenc, Piano Concerto, second movement, key relations in the first part of the B section Parallel modes and the chromatic mediants they support thwart expectations and emerge as the main point of tension for the entire movement. The second half of the B section has the loudest dynamics in the movement thus far, with fortissimo and fortississimo entrances of the theme, double-dotted rhythms, flights into the high registers in the solo part, and frequent harmonic moves to remote keys.
    [Show full text]
  • Tonal Ambiguity and Melodic-Harmonic Disconnect in the Music of Coldplay
    “All That Noise, and All That Sound:” Tonal Ambiguity and Melodic-Harmonic Disconnect in the Music of Coldplay by Nathanael Welch Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the Music Theory and Composition Program YOUNGSTOWN STATE UNIVERSITY August, 2015 “All That Noise, and All That Sound:” Tonal Ambiguity and Melodic-Harmonic Disconnect in the Music of Coldplay Nathanael Welch I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: Nathanael Welch, Student Date Approvals: Dr. Jena Root, Thesis Advisor Date Dr. Randall Goldberg, Committee Member Date Dr. Tedrow Perkins, Committee Member Date Dr. Steven Reale, Committee Member Date Dr. Salvatore A. Sanders, Associate Dean of Graduate Studies Date i ABSTRACT Within the music of Coldplay there often exists a disconnect between the melody (vocal line) and the harmony (chord pattern/structure). It is often difficult to discern any tonal center (key) within a given song. In several of the songs I have selected for analysis, the melodies, when isolated from the harmonic patterns, suggest tonal centers at odds with the chords. Because of its often stratified pitch organization, Coldplay’s music is sometimes in two keys simultaneously. Exploring the disconnect between melody and harmony, I will show how that can lead to tonal ambiguity in the sense that there is no one key governing an entire song.
    [Show full text]
  • MTO 20.4: Johnston, Modal Idioms and Their Rhetorical Associations
    Volume 20, Number 4, December 2014 Copyright © 2014 Society for Music Theory Modal Idioms and Their Rhetorical Associations in Rachmaninoff’s Works Blair Johnston NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.4/mto.14.20.4.johnston.php KEYWORDS: Rachmaninoff, harmony, neo-modalism, diatonic, equal-interval, rhetoric ABSTRACT: In this article, I examine passages from more than a dozen works by Rachmaninoff—especially the Third Symphony, op. 44—in order to better understand the significance that certain modal idioms (diatonic and equal-interval) have in his harmonic language and to show the consistency with which he treats these idioms across his oeuvre. I describe three types of diatonic modal idiom and three types of equal-interval modal idiom and I outline their basic rhetorical associations in Rachmaninoff’s music: diatonic modal idioms are consistently associated with introduction, exposition, digression, and post-climactic activity while equal-interval modal idioms are consistently associated with intensification, climax, and destabilization. I consider the implications those rhetorical associations have for the analysis of entire compositions, and, along the way, I suggest possible avenues for future research on Rachmaninoff ’s position within both the pan-European fin de siècle and the so-called Russian “silver age.” Received April 2014 1. Introduction by Way of an Introduction [1.1] Neo-modalism is an integral part of Rachmaninoff’s harmonic language. Passages that involve the familiar, named diatonic modes or the almost-as-familiar, named equal-interval modes (whole-tone, octatonic, hexatonic) appear in prominent locations in his works.
    [Show full text]
  • Of Fa Illufitc ^Cadi'mw
    III I"' lie Journal Of fa Illufitc ^cadi'mw mii /Ifoabras II " ‘I , 1 A QUARTERLY DEVOTED TO THE ADVANCEMENT OP THE SCIENCE AND ART OF MUSIC V o l . XIII 1942 P a r t s I-IV EDITED BY T. V. SUBBA RAO AND Dr. V. RAGHAVAN ouew A u • iq*tA THE MUSIC ACADEMY, MADRAS ‘ KESARI KUTEERAM BUILDINGS ’ ROYAPETTAI!, MADRAS Annual Subscription:—Inland Rs. 4 ; Foreign 8 shs. Post Paid. NOTICE All correspondence should be addressed to Dr. V. Raghavan, Joint Editor, Journal of the Music Aca­ demy. Articles on musical subjects are accepted for publi­ cation on the understanding that they are contributed solely to the Journal of the Music Academy. All manuscripts should be legibly written or pre­ ferably typewritten (double-spaced— on one side of the paper only) and should be signed by the writer (giving his address in full). All articles and communications intended for publi­ cation should reach the office at least one month before the date of publication (ordinarily the 15th of the 1st month in each quarter). The Editor of the Journal is not responsible for the views expressed by individual contributors. All advertisements intended for publication should reach the office not later than the 1st of the first month of each quarter. All books, moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan, Joint Editor. ADVERTISEMENT CHARGES COVER PAGES: Full page. Half page. Back (outside) .. Rs. 25 Front (inside) „ 20 Rs. 11 Back (Do.) „ 20 „ 11 INSIDE PAGES: 1st page (after cover) .
    [Show full text]
  • A Wagnerian Ursatz; Or, Was Wagner a Background Composer After All?
    A Wagnerian Ursatz; or, Was Wagner a Background Composer After All? by Warren Darcy Heinrich Schenker's antipathy towards the music of Richard Wagner is well known. However, some of the references to Wagner's music in Schenker's earlier writings are far from disrespectful in tone. For example, in Book I of Counterpoint (1910), Schenker remarks about a passage from Das Rheingold: "Such lovely fruit of the composing-out of scale degrees!"1 Several pages later, he comments approvingly upon a chromatic passage from Tristan und Isolde.2 Yet in his later works we find the theorist railing against "Wagner's inability to achieve An earlier version of this paper was presented at the annual meeting of the American Musicological Society, Austin, Texas, October 1989. Research on the Rheingold Gesamtentwurf was carried out at the National Archiv der Richard-Wagner-Stiftung in Bayreuth, West Germany, supported by a grant from Oberlin College, during the period November 1986-February 1987. I am grateful to Dr. Manfred Eger and Herr Gunther Fischer for allowing me to examine this and other manuscripts. Thanks are also due to Professors David Beach and Robert Gauldin for their helpful comments upon various aspects of this study. heinrich Schenker, Counterpoint y trans. John Rothgeb and Jurgen Thym, ed. John Rothgeb (New York: Schirmer Books, 1987), 1:151. 2Ibid., 1:169. This content downloaded from 128.151.124.135 on Sat, 16 Mar 2019 00:22:18 UTC All use subject to https://about.jstor.org/terms 2 Integral diminutions like those of the masters"3 and "his overemphasis on the musical foreground due to theatrical requirements."4 This suggests that Schenker's negative stance towards Wagner is connected with his formulation of the Ursatz theory.
    [Show full text]
  • Tonal Design and Narrative in Film Music: Bernard Herrmann's a Portrait of Hitch and the Trouble with Harry
    Tonal Design and Narrative In Film Music: Bernard Herrmann's A Portrait Of Hitch and The Trouble With Harry David Neumeyer Writing in this journal ten years ago, I proposed that "it is nearly impossible to study a film score purely in terms of the structuralist/formalist descriptions of design that most of us are used to as the primary activity of music analysis."} Among the obstacles are questions of music's place in the implied physical space of the film ("diegetic" I"nondiegetic"), music's narrative functions, its relation to other elements of the soundtrack, its (typical or perceived) lack of continuity and development, authorship, the integrity of the text, and the necessity of adaptation for analytic methods designed primarily for concert music. In the past decade, the literature on film music has expanded considerably, and a number of these issues have been addressed in serious (if not necessarily conclusive) ways from different disciplinary perspectives. But my original challenge remains largely open, perhaps because of priorities among film-music scholars: those issues named above are at the heart of the theoretical and historical problems of film music, and, in comparison, pitch design and similar matters examined "for their own sake" are little more than curiosities. Another way to put this is that issues and techniques related more directly and obviously to reading-interpreting-a film, such as leitmotivic networks, instrumental color, affect or style topics, diegetic or nondiegetic status, and place in the soundtrack, all take priority over traditional musical-structural devices such as harmony, voice leading, or form categories.2 As Ronald Rodman demonstrates clearly, however, one IDavid Neumeyer, "Film Music Analysis and Pedagogy," Indiana Theory Review 11 (1990): 16.
    [Show full text]
  • Tonality Estimation in Electronic Dance Music a Computational and Musically Informed Examination
    Tonality Estimation in Electronic Dance Music A Computational and Musically Informed Examination Ángel Faraldo Pérez TESI DOCTORAL UPF / 2017 Thesis Directors: Dr. Sergi Jordà Puig Music Technology Group Department of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dissertation submitted to the Department of Information and Communication Tech- nologies of Universitat Pompeu Fabra in partial fulfilment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA Copyright c 2017 by Ángel Faraldo Licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Music Technology Group (http://mtg.upf.edu), Department of Information and Communication Tech- nologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain. The doctoral defence was held on ......................... at the Universitat Pompeu Fabra and scored as ........................................................... Dr. Sergi Jordà Puig (Thesis Supervisor) Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Agustín Martorell Domínguez (Thesis Committee Member) Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Gianni Ginesi (Thesis Committee Member) Escola Superior de Musica de Catalunya (ESMUC), Barcelona, Spain Dr. Anja Volk (Thesis Committee Member) Universiteit Utrecht, The Netherlands This thesis has been carried out at the Music Technology Group (MTG) of Universitat Pompeu Fabra in Barcelona, Spain, from January 2014 to November 2017, supervised by Dr. Sergi Jordà Puig and Prof. Perfecto Herrera Boyer. My work has been supported by the Department of Information and Communication Technologies (DTIC) PhD fellowship (2015-17), Universitat Pompeu Fabra, and the European Research Council under the European Union’s 7th Framework Program, as part of the GiantSteps project (FP7-ICT-2013-10, grant agreement 610591).
    [Show full text]
  • The Problem of Tonal Disunity in Sergeäł Rachmaninoff's All-Night
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 The Problem of Tonal Disunity in Sergeĭ Rachmaninoff's All-Night Vigil, op. 37 Olga Ellen Bakulina The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/850 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE PROBLEM OF TONAL DISUNITY IN SERGEĬ RACHMANINOFF’S ALL-NIGHT VIGIL, OP. 37 by OLGA (ELLEN) BAKULINA A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy The City University of New York 2015 i © 2015 OLGA (ELLEN) BAKULINA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy ______ ____________________ Date L. Poundie Burstein Chair of Examining Committee ______ ____________________ Date Norman Carey Executive Officer William Rothstein, adviser Philip Ewell, first reader Poundie Burstein Blair Johnston ____________________ Supervisory Committee The City University of New York iii ABSTRACT THE PROBLEM OF TONAL DISUNITY IN SERGEĬ RACHMANINOFF’S ALL-NIGHT VIGIL, OP. 37 By Olga (Ellen) Bakulina Adviser: Professor William Rothstein Recent English-language scholarship has given considerable attention to the issue of tonal disunity, particularly the concepts of tonal pairing, directional tonality, and double-tonic complex.
    [Show full text]