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University Microiilms, a XERQ\Company, Ann Arbor, Michigan
71-18,075 RINEHART, John McLain, 1937- IVES' COMPOSITIONAL IDIOMS: AN INVESTIGATION OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS' OF HIS MUSICAL LANGUAGE. The Ohio State University, Ph.D., 1970 Music University Microiilms, A XERQ\Company, Ann Arbor, Michigan © Copyright by John McLain Rinehart 1971 tutc nTccrSTATmil HAS fiEEM MICROFILMED EXACTLY AS RECEIVED IVES' COMPOSITIONAL IDIOMS: AM IMVESTIOAT10M OF SELECTED SHORT COMPOSITIONS AS MICROCOSMS OF HIS MUSICAL LANGUAGE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy 3n the Graduate School of The Ohio State University £ JohnfRinehart, A.B., M«M. # # * -k * * # The Ohio State University 1970 Approved by .s* ' ( y ^MrrXfOor School of Music ACm.WTji.D0F,:4ENTS Grateful acknov/ledgement is made to the library of the Yale School of Music for permission to make use of manuscript materials from the Ives Collection, I further vrish to express gratitude to Professor IJoman Phelps, whose wise counsel and keen awareness of music theory have guided me in thi3 project. Finally, I wish to acknowledge my wife, Jennifer, without whose patience and expertise this project would never have come to fruition. it VITA March 17, 1937 • ••••• Dorn - Pittsburgh, Pennsylvania 1959 • • • • • .......... A#B#, Kent State University, Kent, Ohio 1960-1963 . * ........... Instructor, Cleveland Institute of Music, Cleveland, Ohio 1 9 6 1 ................ • • • M.M., Cleveland Institute of ITu3ic, Cleveland, Ohio 1963-1970 .......... • • • Associate Professor of Music, Heidelberg College, Tiffin, Ohio PUBLICATIONS Credo, for unaccompanied chorus# New York: Plymouth Music Company, 1969. FIELDS OF STUDY Major Field: Theory and Composition Studies in Theory# Professor Norman Phelps Studies in Musicology# Professors Richard Hoppin and Lee Rigsby ill TAPLE OF CC NTEKTS A C KI JO WLE DGEME MT S ............................................... -
Bestimmung Der Expositionsverteilung Von HF Feldern Im Menschlichen Körper, Unter Berücksichtigung Kleiner Strukturen Und Thermophysiologisch Relevanter Parameter
Forschungsvorhaben Bestimmung der Expositionsverteilung von HF Feldern im menschlichen Körper, unter Berücksichtigung kleiner Strukturen und thermophysiologisch relevanter Parameter Abschlussbericht Gernot Schmid, Richard Überbacher, Patrick Preiner, Theodoros Samaras, Peter Mazal, Alexandra Jappel, Wolf-Dieter Baumgartner, Manfred Tschabitscher korrigierte Ausgabe Oktober 2008 (Originalausgabe August 2006) Exemplar 1 ARC-IT-0174 Verteiler: 1-4 Bundesamt für Strahlenschutz 5 DI Lamedschwandner 6 DI Schmid 7 DI Überbacher 8 DI Preiner 9 Dr. Samaras 10 Prof. Mazal 11 Fr. Jappel 10 Prof. Baumgartner 12 Prof. Tschabitscher 13 Sekretariat ARCS/IT ARC-IT-0174 Oktober 2008 Bestimmung der Expositionsverteilung von HF Feldern im menschlichen Körper, unter Berücksichtigung kleiner Strukturen und thermophysiologisch relevanter Parameter Abschlussbericht im Auftrag des Bundesamtes für Strahlenschutz 38201 Salzgitter, Deutschland Gernot Schmid1, Richard Überbacher1, Patrick Preiner1, Theodoros Samaras2, Peter Mazal3, Alexandra Jappel4, Wolf-Dieter Baumgartner4, Manfred Tschabitscher5 1 ARC Seibersdorf research GmbH Geschäftsfeld Sichere Mobilkommunikation A-2444 Seibersdorf 2 Aristotle University of Thessaloniki, Radio Communications Laboratory, GR-54124 Thessaloniki 3 Klinisches Institut für Pathologie, Medizinische Universität Wien Währinger Gürtel 18-20 A-1090 Wien 4 Universitätsklinik für Hals- Nasen- und Ohrenkrankheiten, Medizinische Universität Wien Währinger Gürtel 18-20 A-1090 Wien 5 Zentrum für Anatomie und Zellbiologie, Medizinische Universität -
Modern Art Music Terms
Modern Art Music Terms Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Atonality: In modern music, the absence (intentional avoidance) of a tonal center. Avant Garde: (French for "at the forefront") Modern music that is on the cutting edge of innovation.. Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Form: The musical design or shape of a movement or complete work. Expressionism: A style in modern painting and music that projects the inner fear or turmoil of the artist, using abrasive colors/sounds and distortions (begun in music by Schoenberg, Webern and Berg). Impressionism: A term borrowed from 19th-century French art (Claude Monet) to loosely describe early 20th- century French music that focuses on blurred atmosphere and suggestion. Debussy "Nuages" from Trois Nocturnes (1899) Indeterminacy: (also called "Chance Music") A generic term applied to any situation where the performer is given freedom from a composer's notational prescription (when some aspect of the piece is left to chance or the choices of the performer). Metric Modulation: A technique used by Elliott Carter and others to precisely change tempo by using a note value in the original tempo as a metrical time-pivot into the new tempo. Carter String Quartet No. 5 (1995) Minimalism: An avant garde compositional approach that reiterates and slowly transforms small musical motives to create expansive and mesmerizing works. Glass Glassworks (1982); other minimalist composers are Steve Reich and John Adams. Neo-Classicism: Modern music that uses Classic gestures or forms (such as Theme and Variation Form, Rondo Form, Sonata Form, etc.) but still has modern harmonies and instrumentation. -
Dissertation Chapter 3
CHAPTER 3: SYNTHETIC ‘KERNELS’ “…it should be borne in mind that variation is the basic creative method of folk music, and thus in Bartók’s eyes the natural mode of composition…” -Bence Szabolcsi, “Man and Nature in Bartók’s World”1 THEME… When Zoltán Székely approached Bartók with a commission for a new violin concerto in the fall of 1936, the composer’s first idea was to write a single movement in variation form.2 Székely, however, insisted on the form of a traditional concerto. Bartók obliged him with a large scale three-movement composition, but still remained faithful to his original vision: not only is the second movement a set of variations on an original theme, Bartók also derives all of the third movement from the musical material of the first movement through free variations. While the Piano Concerto No. 2 also displays thematic variation between its first and third movements, “the correspondence between the two exterior movements [in the Violin Concerto] goes much further than the simple re-use of materials: the architecture is duplicated almost section by section. Both are large sonata-form movements, with two main thematic groups and a number of pertinent 1 Bence Szabolsci, “Man and Nature in Bartók’s World,” in Bartók Studies, ed. Todd Crow (Detroit: Information Coordinators, 1976), 72. 2 Lampert cites Somfai, Tizennyolc Bartók tanulmány (1981). associates with the form.”3 In light of Bartók’s proclivity for the variation principle in his free composition,4 it is remarkable that the second movement of the Violin Concerto represents his only large-scale essay in the form of theme and variations. -
Literal Imagery in Music: a Thesis to Accompany Constellation Suite
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2011 Literal Imagery in Music: A Thesis to Accompany Constellation Suite Evelyn Marie Pursley-Kopitzke [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Composition Commons Recommended Citation Pursley-Kopitzke, Evelyn Marie, "Literal Imagery in Music: A Thesis to Accompany Constellation Suite. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/1092 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Evelyn Marie Pursley-Kopitzke entitled "Literal Imagery in Music: A Thesis to Accompany Constellation Suite." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Kenneth A. Jacobs, Major Professor We have read this thesis and recommend its acceptance: Barbara A. Murphy, Donald Pederson Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Evelyn Marie Pursley-Kopitzke entitled ―Literal Imagery in Music: A Thesis to Accompany Constellation Suite.‖ I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Music, with a major in Music. -
Segmenting Musical Audio Musical Form
Analyzing structure: segmenting musical audio Musical form (1) • Can refer to the type of composition (as in multi-movement form), e.g. symphony, concerto, etc • Of more relevance to this class, it refers to the structure of a given piece (as in single-movement form), e.g. strophic, binary, sonata, fugue • We can differentiate between sectional and developmental form • “In a sectional form, the piece is built by combining small clear-cut units, sort of like stacking legos” (DeLone, 1975). This is the case with most popular music. • In developmental form the piece is built from a number of evolving presentations and combinations of small musical units (e.g. motifs, themes) • Music with continuous non-sectional, non-repetitive form is called through composed 1 Musical form (2) • Each unit can be labeled with a letter (e.g. A, B, C) or a generic name (e.g. intro, verse, chorus, bridge, interlude, coda, etc) • Strophic form: repeats the same tune in different verses, e.g. AA… • Binary form: alternates two sections, which are often repeated, e.g. ABAB or AABB • Ternary form: has three parts, third section is often a recap or a variation of the first one, e.g. AABA, AABA’, AA’BA’ • Arch form: it is a symmetric form, based on the repetition of sections around a center, e.g. ABCBA • Rondo: a main theme is alternated with sub-themes, but it always comes back (returns), e.g. ABACADA….. • Variations: theme plus variations, e.g. AAiAiiAAiii • Sonata: more complex form showing intro, exposition, development, recapitulation, coda. Musical form (3) • What is at the core of structure analysis is the idea of repetition. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
SELECTED TWENTIETH-CENTURY STRING QUARTETS: AN APPROACH TO UNDERSTANDINGSTYLE AND FORM Item Type text; Dissertation-Reproduction (electronic) Authors Walker, Mary Beth Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 13:06:11 Link to Item http://hdl.handle.net/10150/290437 INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on. the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. -
Elements of Music
GCSE Music DR SMITH Definitions Elements of Music & Listening and Appraising Support DR SMITH Definitions D Dynamics – Volume in music e.g. Loud (Forte) & Quiet (Piano). Duration – The length of notes, how many beats they last for. Link this to the time signature and how many beats in the bar. R Rhythm – The effect created by combining a variety of notes with different durations. Consider syncopation, cross rhythms, polyrhythm’s, duplets and triplets. S Structure – The overall plan of a piece of music e.g Ternary ABA and Rondo ABACAD, verse/chorus. M Melody – The effect created by combining a variety of notes of different pitches. Consider the movement e.g steps, skips, leaps. Metre – The number of beats in a bar e.g 3/4, 6/8 consider regular and irregular time signatures e.g. 4/4, 5/4. I Instrumentation – The combination of instruments that are used, consider articulation and timbre e.g staccato, legato, pizzicato. T Texture – The different layers in a piece of Music e.g polyphonic, monophonic, thick, thin. Tempo – The speed of the music e.g. fast (Allegro), Moderate (Andante), & slow (Lento / Largo). Timbre – The tone quality of the music, the different sound made by the instruments used. Tonality – The key of a piece of music e.g Major (happy), Minor (sad), atonal. H Harmony – How notes are combined to build up chords. Consider concords and discords. Elements of Music – Music Vocabulary Dynamics - Volume Fortissimo (ff) – Very loud Forte (f) – Loud Mezzo Forte (mf) – Moderately loud Mezzo Piano (mp) – Moderately quiet Piano (p) – Quiet Pianissimo (pp) – Very quiet Crescendo (Cresc.) - Gradually getting louder Diminuendo (Dim.) - Gradually getting quieter Subito/Fp – Loud then suddenly soft Dynamics - Listening Is the music loud or quiet? Are the changes sudden or gradual? Does the dynamic change often? Is there use of either a sudden loud section or note, or complete silence? Is the use of dynamics linked to the dramatic situation? If so, how does it enhance it? Duration/Rhythm (length of notes etc.) Note values e.g. -
Béla Bartók Music for Strings, Percussion, and Celesta
PROGRAM NOTES by Phillip Huscher Béla Bartók Born March 25, 1881, Nagyszentmiklós, Transylvania (now part of Romania). Died September 26, 1945, New York City. Music for Strings, Percussion, and Celesta Bartók composed this work in 1936. Paul Sacher led the first performance in Basel on January 21, 1937. The score calls for small drums (with and without snares), cymbals, tam-tam, bass drum, timpani, xylophone, celesta, piano, harp, and strings. Performance time is approximately thirty-two minutes. In 1945, after Bartók’s death, Paul Sacher wrote: “Whoever met Bartók, thinking of the rhythmic strength of his work, was surprised by his slight, delicate figure.” Bartók was sickly from early childhood. By the time he began writing music at the age of nine, he had already survived more illnesses than most adults, and throughout his life he was troubled by a skin rash caused by a smallpox vaccination. When Sacher met Bartók in 1929, he knew only the vigor and power of Bartók’s music, and he soon added to this important catalog by commissioning one of Bartók’s finest works, the Music for Strings, Percussion, and Celesta, for the tenth anniversary of his Basel Chamber Orchestra in 1936. The young Swiss conductor and this slight, delicate giant of twentieth-century music remained close for many years, their friendship sealed by the creation of a landmark score. Bartók accepted Sacher’s commission on June 27, 1936, and said that he was thinking of writing a work for strings and percussion. He completed the score in ten weeks. Even more unusual than the instrumentation, which Bartók essentially lists as the title of his work, is the distribution of those instruments on the stage, specified by the composer in a seating plan that accompanies the score. -
Musical Form – Page 1 of 6 AUDITIVE GESTALTUNG
FH SBG MMA – Musical Form – Page 1 of 6 AUDITIVE GESTALTUNG Musical Form 1. Musical Form – Basic Principles 2. Levels of Organization 2.1 Motif and Riff 2.2 Phrase and Pattern 2.3 Passage 2.4 Piece 2.5 Cycle 3. Single Forms 3.1 Sectional Form 3.2 Variational Forms 3.3 Developmental Forms 4. Cyclical Forms 1 Musical Form – Basic Principles Musical from is sometimes used to refer to a particular “musical style”, which is determined by melodic and harmonic language, rhythms, musical instruments used, as well as historical and geographical origins. Within the vocabulary of art-music, “musical form” refers more to the type of structure on which the music is built (specifically, the macrostructure). It has often been defined as a set of strategies designed to find a successful mean between the opposite extremes of “unrelieved repetition” and “unrelieved alteration” (Scholes, Percy A. - The Oxford Companion to Music). Example of unrelieved repetition (the same element is repeated over and over again): X X X X X X X X … The danger of a musical piece based on unrelieved repetition is of course to cause boredom. Example of unrelieved alteration (no repetition, new elements are continuously introduced): X O □ ◊ ● ∆ ¤ … A musical piece based on unrelieved alteration can soon cause listening fatigue and loss of interest, as it is not possible to recognize and hence relate to any of the new musical elements introduced. This is one of the problems of some contemporary musical styles, as the language and form do not follow any pattern that might be recognizable by the listener. -
Popular Music Analysis and Musicology: Bridging the Gap
Popular Music (1993) Volume 12/2. Copyright © 1993 Cambridge University Press Popular music analysis and musicology: bridging the gap RICHARD MIDDLETON Since their beginnings, popular music studies have conducted an implicit (some- times explicit) dialogue with musicology. To be sure, the musicological side of this conversation has more often than not been marked by insult, incomprehension or silence; and popular music scholars for their part have tended to concentrate on musicology's deficiencies. But musicology is changing (more about this later); at the same time, recent work on popular music suggests a new confidence, manifest- ing itself in part in a willingness to engage with and adapt mainstream methods.11 believe each needs the other. Within the sphere of analysis, the main problem felt to attach to mainstream methods has been the tendency to formalism. In contrast, popular music analysis has insisted (rightly, I think) on the priority of meaning. Much of the best work has been semiotic or interpretative (Laing, Tagg, Bradby, Grossberg) or has pursued theories of social and cultural homology (Hebdige, Shepherd). However imposing this body of work, though, there is a suspicion that sometimes insufficient atten- tion has been paid to the sounds themselves - to the intra-musical structures of what I call the 'primary' level of signification (Middleton 1990, p. 220). Somehow, we need to find ways of bringing the patterns created in the sounds themselves back into the foreground, without as a consequence retreating into an inappropri- ate formalism. And if we can do this, we may well find that we are contributing to an advance in general musical analysis. -
The Evaluation of Nonlinear Musical Structures
Edith Cowan University Research Online ECU Publications 2011 1-1-2011 The Evaluation of Nonlinear Musical Structures Lindsay Vickery Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/ecuworks2011 Part of the Music Commons Vickery, L. (2011). The evaluation of nonlinear musical structures . Paper presented at the The Third Totally Huge New Music Festival Conference, Perth Western Australia. Available here This Conference Proceeding is posted at Research Online. https://ro.ecu.edu.au/ecuworks2011/353 The Evaluation of Nonlinear Musical Structures Lindsay Vickery Western Australian Academy of Performing Arts, Edith Cowan University Perth, Western Australia Our experience of time through music is diverse and This discussion argues that Nonlinear structures often irregular. In Western and non-Western music, occupy the middle ground between these poles: composers have explored the idea of exploiting this resisting the formation of a unified directionality, but relationship to create structures that destabilize, retaining at least a minimal relationship between at fragment and even suspend time. some of their components. A definition of Nonlinear Structure is proposed based This chapter seeks both to identify the circumstances upon evaluation of the level of integration, that lead to the emergence of nonlinearity in music, contingency, compressibility and determinacy of a and to explore and classify the range of work. Exemplar works by composers Earle Brown, manifestations of what might be considered from an Béla Bartók, Olivier Messiaen and Brian Eno are analytical perspective, to be Nonlinear structures. discussed. This goal is independent of the consideration of techniques and methodologies utilized by composers Introduction to generate musical material.