Harmonic Language in the Legend of Zelda: Ocarina of Time Nicholas Gervais Queen's University
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The Rosenwinkel Introductions
The Rosenwinkel Introductions: Stylistic Tendencies in 10 Introductions Recorded by Jazz Guitarist Kurt Rosenwinkel Jens Hoppe A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Performance) Conservatorium of Music University of Sydney 2017 Declaration I, Jens Hoppe, hereby declare that this submission is my own work and that it contains no material previously published or written by another person except where acknowledged in the text. This thesis contains no material that has been accepted for the award of a higher degree. Signed: ______________________________________________Date: 31 March 2016 i Acknowledgments The task of writing a thesis is often made more challenging by life’s unexpected events. In the case of this thesis, it was burglary, relocation, serious injury, marriage, and a death in the family. Disruptions also put extra demands on those surrounding the writer. I extend my deepest gratitude to the following people for, above all, their patience and support. To my supervisor Phil Slater without whom this thesis would not have been possible – for his patience, constructive comments, and ability to say things that needed to be said in a positive and encouraging way. Thank you Phil. To Matt McMahon, who is always an inspiration, whether in conversation or in performance. To Simon Barker, for challenging some fundamental assumptions and talking about things that made me think. To Troy Lever, Abel Cross, and Pete ‘Göfren’ for their help in the early stages. They are not just wonderful musicians and friends, but exemplary human beings. To Fletcher and Felix for their boundless enthusiasm, unconditional love and the comic relief they provided. -
The Form of the Preludes to Bach's Unaccompanied Cello Suites
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 The orF m of the Preludes to Bach's Unaccompanied Cello Suites Daniel E. Prindle University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Composition Commons, Musicology Commons, Music Practice Commons, and the Music Theory Commons Prindle, Daniel E., "The orF m of the Preludes to Bach's Unaccompanied Cello Suites" (2011). Masters Theses 1911 - February 2014. 636. Retrieved from https://scholarworks.umass.edu/theses/636 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2011 Master of Music in Music Theory © Copyright by Daniel E. Prindle 2011 All Rights Reserved ii THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Approved as to style and content by: _____________________________________ Gary Karpinski, Chair _____________________________________ Miriam Whaples, Member _____________________________________ Brent Auerbach, Member ___________________________________ Jeffrey Cox, Department Head Department of Music and Dance iii DEDICATION To Michelle and Rhys. iv ACKNOWLEDGEMENTS First and foremost, I would like to acknowledge the generous sacrifice made by my family. -
Further Considerations of the Continuous ^5 with an Introduction and Explanation of Schenker's Five Interruption Models
Further Considerations of the Continuous ^5 with an Introduction and Explanation of Schenker's Five Interruption Models By: Irna Priore ―Further Considerations about the Continuous ^5 with an Introduction and Explanation of Schenker’s Five Interruption Models.‖ Indiana Theory Review, Volume 25, Spring-Fall 2004 (spring 2007). Made available courtesy of Indiana University School of Music: http://www.music.indiana.edu/ *** Note: Figures may be missing from this format of the document Article: Schenker’s works span about thirty years, from his early performance editions in the first decade of the twentieth century to Free Composition in 1935.1 Nevertheless, the focus of modern scholarship has most often been on the ideas contained in this last work. Although Free Composition is indeed a monumental accomplishment, Schenker's early ideas are insightful and merit further study. Not everything in these early essays was incorporated into Free Composition and some ideas that appear in their final form in Free Composition can be traced back to his previous writings. This is the case with the discussion of interruption, a term coined only in Free Composition. After the idea of the chord of nature and its unfolding, interruption is probably the most important concept in Free Composition. In this work Schenker studied the implications of melodic descent, referring to the momentary pause of this descent prior to the achievement of tonal closure as interruption. In his earlier works he focused more on the continuity of the line itself rather than its tonal closure, and used the notion of melodic line or melodic continuity to address long-range connections. -
Viewed by Most to Be the Act of Composing Music As It Is Being
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Sonata for Alto Saxophone and Piano by Phil Woods: An Improvisation-Specific Performer’s Guide A doctoral document submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Performance Studies Division of the College-Conservatory of Music By JEREMY LONG August, 2008 B.M., University of Kentucky, 1999 M.M., University of Cincinnati College-Conservatory of Music, 2002 Committee Chair: Mr. James Bunte Copyright © 2008 by Jeremy Long All rights reserved ABSTRACT Sonata for Alto Saxophone and Piano by Phil Woods combines Western classical and jazz traditions, including improvisation. A crossover work in this style creates unique challenges for the performer because it requires the person to have experience in both performance practices. The research on musical works in this style is limited. Furthermore, the research on the sections of improvisation found in this sonata is limited to general performance considerations. In my own study of this work, and due to the performance problems commonly associated with the improvisation sections, I found that there is a need for a more detailed analysis focusing on how to practice, develop, and perform the improvised solos in this sonata. This document, therefore, is a performer’s guide to the sections of improvisation found in the 1997 revised edition of Sonata for Alto Saxophone and Piano by Phil Woods. -
Use of Progressive Rock in David Wise's Soundtrack for Donkey Kong
Use of Progressive Rock in David Wise’s Soundtrack for Donkey Kong Country and the Advancement of Video Game Music Brooke Spencer Professor Stephanie Lind MUSC501 3 March 2019 Introduction In 1994, Nintendo released the Super Nintendo game: Donkey Kong Country (DKC)– resulting in widespread popularity and new innovative use of music in gameplay. Through the utilization of prog-rock in David Wise’s soundtrack for DKC, Nintendo has expanded its range of musical styles, function, and status as a top contending videogame company. The use of prog-rock can be broken down in David Wise’s three pieces: “Treetop Rock”, “Fear Factory”, and “Aquatic Ambience”. Through elements of prog-rock seen in each of these pieces - harmonic prolongation, fragmentation, distortion, and use of the concept ‘meta- chord’ – we can see that DKC’s music was unlike anything Nintendo had been creating previously, and set expectations for music in videogames to come. History Starting in 1977-78, the video game industry began to rise in popularity through arcades. In the 1960s/1970s when first-generation home consoles were created, sound was not a possibility. It was only when Pong was released on the Atari home console in 1975 that sounds were used deliberately: the game had 3 different sounds coinciding with actions on screen: the ball hitting the wall, the paddle, and a sound for player failure. Most games included sound in future releases to increase profits after Pong’s success.1 By the end of the 70s, arcades were growing in popularity, with Nintendo a primary arcade console producer. -
Understanding Ornamentation in Atonal Music Michael Buchler College of Music, Florida State University, U.S.A
Understanding Ornamentation in Atonal Music Michael Buchler College of Music, Florida State University, U.S.A. [email protected] ABSTRACT # j E X. X E In 1987, Joseph Straus convincingly argued that prolongational & E claims were unsupportable in post-tonal music. He also, intentionally or not, set the stage for a slippery slope argument whereby any small E # E E E morsel of prolongationally conceived structure (passing tones, ? E neighbor tones, suspensions, and the like) would seem just as Example 1. An escape tone that is not “non-harmonic.” problematic as longer-range harmonic or melodic enlargements. Prolongational structures are hierarchical, after all. This paper argues Example 2 excerpts an oft-contemplated piece: that large-scale prolongations are inherently different from Schoenberg’s op. 19, no. 6. In mm. 3-4, E6, the highest note small-scale ones in atonal (and possibly also tonal) music. It also of this short movement, neighbors Ds6. This neighboring suggests that we learn to trust our analytical instincts and perceptions motion is the first new gesture that we hear following with atonal music as much as we do with tonal music and that we not repetitions of the iconic first two chords. Two bars later, we require every interpretive impulse to be grounded by strongly can hear an appoggiatura as the unprepared Gs enters and methodological constraints. resolves down to Fs. The Ds-E-Ds neighbor tone was also shown in a reductive analysis in Lerdahl (2001, 354), but I. INTRODUCTION AND EXAMPLES Lerdahl apparently disagrees with my appoggiatura designation, instead equating both Gs and Fs as members of On the face of it, this paper makes a very simple and “departure” sonorities. -
Evaluating Prolongation in Extended Tonality
Evaluating Prolongation in Extended Tonality <http://mod7.shorturl.com/prolongation.htm> Robert T. Kelley Florida State University In this paper I shall offer strategies for deciding what is structural in extended-tonal music and provide new theoretical qualifications that allow for a conservative evaluation of prolongational analyses. Straus (1987) provides several criteria for finding post-tonal prolongation, but these can simply be reduced down to one important consideration: Non-tertian music clouds the distinction between harmonic and melodic intervals. Because linear analysis depends upon this distinction, any expansion of the prolongational approach for non-tertian music must find alternative means for defining the ways in which transient tones elaborate upon structural chord tones to foster a sense of prolongation. The theoretical work that Straus criticizes (Salzer 1952, Travis 1959, 1966, 1970, Morgan 1976, et al.) fails to provide a method for discriminating structural tones from transient tones. More recently, Santa (1999) has provided associational models for hierarchical analysis of some post-tonal music. Further, Santa has devised systems for determining salience as a basis for the assertion of structural chords and melodic pitches in a hierarchical analysis. While a true prolongational perspective cannot be extended to address most post-tonal music, it may be possible to salvage a prolongational approach in a restricted body of post-tonal music that retains some features of tonality, such as harmonic function, parsimonious voice leading, or an underlying diatonic collection. Taking into consideration Straus’s theoretical proviso, we can build a model for prolongational analysis of non-tertian music by establishing how non-tertian chords may attain the status of structural harmonies. -
Allen Forte on Schenker
From Allen Forte: Schenker’s Conception of Musical Structure, in Journal of Music Theory, III/1 (April, 1959), 7 – 14, 23 – 24. Reprinted in Norton Critical Scores: Dichterliebe, edited by Arthur Komar.1 Note: I have modified Forte’s footnotes in two ways: first, I’ve added a number of footnotes of my own, pointing out where some of the unexamined assumptions of Schenkerian analysis might be fueling some of Forte’s or Schenker’s statements, and second, where the reference is sufficiently obscure as to be best omitted. Those footnotes which present my own commentary are always prefaced with my initials SLF. (Sometimes I’ve appended my commentary directly to Forte’s footnotes.) From time to time I may insert a larger-scale note into the text proper; such notes are formatted as you see here, in smaller italic text and enclosed in indented paragraphs. I can think of no more satisfactory way to introduce Schenker’s ideas, along with the terminology and visual means which express them, than to comment at some length upon one of his analytic sketches. For this purpose I have selected from Der freie Satz a sketch of a complete short work, the second song from Schumann’s Dichterliebe. I shall undertake to read and interpret this sketch, using, of course, English equivalents for Schenker’s terms.2 Here in visual form is Schenker’s conception of musical structure: the total work is regarded as an interacting composite of three main levels. Each of these structural levels is represented on a separate staff in order that its unique content may be clearly shown. -
A Schenkerian Analysis of Ravel's Introduction And
Schenkerian Analysis of Ravel A SCHENKERIAN ANALYSIS OF RAVEL’S INTRODUCTION AND ALLEGRO FROM THE BONNY METHOD OF GUIDED IMAGERY AND MUSIC Robert Gross, MM, MA, DMA ABSTRACT This study gathers image and emotional responses reported by Bruscia et al. (2005) to Ravel’s Introduction and Allegro, which is a work included for use in the Bonny Method of Guided Imagery and Music (BMGIM). A Schenkerian background of the Ravel is created using the emotional and image responses reported by Bruscia’s team. This background is then developed further into a full middleground Schenkerian analysis of the Ravel, which is then annotated. Each annotation observes some mechanical phenomenon which is then correlated to one or more of the responses given by Bruscia’s team. The argument is made that Schenkerian analysis can inform clinicians about the potency of the pieces they use in BMGIM, and can explain seemingly contradictory or incongruous responses given by clients who experience BMGIM. The study includes a primer on the basics of Schenkerian analysis and a discussion of implications for clinical practice. INTRODUCTION For years I had been fascinated by musical analysis. My interest began in a graduate-level class at Rice University in 1998 taught by Dr. Richard Lavenda, who, regarding our final project, had the imagination to say that we could use an analytical method of our devising. I invented a very naïve method of performing Schenkerian analysis on post-tonal music; the concept of post-tonal prolongation and the application of Schenkerian principles to post-tonal music became a preoccupation that has persisted for me to this day. -
Designing Gameplay Researching and Testing Nintendo’S Game Design
Designing Gameplay Researching and testing Nintendo’s game design Malin Ribäck Arcada Biblioteket och Språkenheten Helsingfors 2019 EXAMENSARBETE Arcada Utbildningsprogram: Mediekultur Identifikationsnummer: 6847 Författare: Malin Ribäck Arbetets namn: Gameplays design – Undersökning och test av Nintendos speldesign Handledare (Arcada): Mirko Ahonen Uppdragsgivare: Sammandrag: Studien gick ut på att utforska hur spelföretaget Nintendo designar gameplay. För att testa resultaten i praktiken skapades ett game design-dokument. Därför börjar arbetet med att diskutera vad game design-dokument är och vad de används för. Game design-dokumentet som gjordes i samband med studien är en kombination av det huvudsakliga game design- dokumentet och ett konceptdokument. Därför tar arbetet också upp skillnaderna mellan dessa dokument. För att utreda hur Nintendo designar gameplay utfördes en litteraturundersökning. Materialet som användes i litteraturundersökningen består av intervjuer. Majoriteten av intervjuerna härstammar från Nintendos egen hemsida. För att utforma en teori tar arbetet upp några befintliga teorier för hur Nintendo designar sina spel. För att kunna diskutera Nintendos gameplay definieras gameplays koncept genom att diskutera olika definitioner av olika författare som tar upp ämnet i fråga. Litteraturundersökningen inleds med en presentation av varifrån materialet för studien har kommit. Inledningsvis tar också arbetet upp två viktiga spelutvecklare från Nintendo, för att ge insikt i varför just de personerna är viktiga. För att presentera en helhet över hur Nintendo designar gameplay studeras, organiseras, presenteras och diskuteras innehållet från litteraturundersökningen. Resultatet från undersökningen visar bland annat att när Nintendo designar sina spel, fokuserar man på följande saker: Att göra spelen användarvänliga, att formge dem enligt deras funktion, att göra spelvärlden responsiv i förhållande till spelaren och att undvika störa eller avbryta spelarens inlevelse i spelet. -
10Th Grade Music – Choir I: Harmonic Function May 11 – May 15 Time Allotment: 20 Minutes Per Day
10th Grade Music – Choir I: Harmonic Function May 11 – May 15 Time Allotment: 20 minutes per day Student Name: ________________________________ Teacher Name: ________________________________ Academic Honesty I certify that I completed this assignment I certify that my student completed this independently in accordance with the GHNO assignment independently in accordance with Academy Honor Code. the GHNO Academy Honor Code. Student signature: Parent signature: ___________________________ ___________________________ Music – Choir I: Harmonic Function May 11 – May 15 Packet Overview Date Objective(s) Page Number Monday, May 11 1. Review Roman numeral identification of chords 2 2. Introduce chord voicing (expanded form) Tuesday, May 12 1. Introduce harmonic function and chord 6 substitution Wednesday, May 13 1. Decode tonic/dominant relationship and define 9 goal of motion within the context of analysis Thursday, May 14 1. Discern predominant function within chorale 12 analysis Friday, May 15 1. Demonstrate understanding of harmonic function 13 by taking a written assessment. Additional Notes: In order to complete the tasks within the following packet, it would be helpful for students to have a piece of manuscript paper to write out triads; I have included a blank sheet of manuscript paper to be printed off as needed, though in the event that this is not feasible students are free to use lined paper to hand draw a music staff. I have also included answer keys to the exercises at the end of the packet. Parents, please facilitate the proper use of these answer documents (i.e. have students work through the exercises for each day before supplying the answers so that they can self-check for comprehension.) As always, will be available to provide support via email, and I will be checking my inbox regularly. -
AP Music Theory: Unit 5
AP Music Theory: Unit 5 From Simple Studies, https://simplestudies.edublogs.org & @simplestudiesinc on Instagram Harmony and Voice Leading II: Chord Progressions and Predominant Functions Harmony and Voice Leading II Predominants usually precede the dominant and are independent chords that link the harmonies between the tonic and dominant. The main examples of predominants are IV and ii. ● IV: the subdominant is used a lot by composers because it can create a smooth transition from the tonic to dominant. In the excerpt below, which is in the key of E flat Major, the bass section ascends a step, and the upper voices go from A to G. This helps steer from voice-leading issues. ○ Going from 퐼푉6to V is another pre- dominant progression. It is very useful because it creates an intensified tonal motion to the dominant. 푖푣6to V in minor form is a type of half cadence known as phrygian cadence. ● II (major), ii° (minor): The supertonic is the most common type, and it is an effective pre-dominant due to 3 reasons: ○ When the progression ii-V continues by a descending fifth (or ascending fourth) format, it is the strongest tonal root motion. ○ It introduces strong timbre and modal contrast during progressions. ○ In the image, the 2-7-1 in the soprano (ii- V-I) is a better scale degree pattern because it produces a stronger cadence in comparison to the original 1-7-1. Keep in mind.. ● The predominant model is tonic→ predominant→ dominant ● When the bass of a predominant transitions to the dominant by (4 to 5) or (6 to 5), the soprano moves in the opposite motion of the bass.