VMTA Theory 2013 New Terms Glossary

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VMTA Theory 2013 New Terms Glossary 12Tone (dodecaphonic) – Using a strict ordering of the chromatic scale Asymmetrical Rhythm – Rhythmic patterns or meters that mix triple and duple Atonality – Lacking a tonal key center; Freely avoids a tonal center through heavy chromaticism Augmentation – When a melody, theme or motif is given proportionately longer duration values Bitonality – Simultaneous use of two scales in different keys Changing Meter – Altering the time signature within a piece of music Cluster Chord – Three or more adjacent notes played together Contrametrics – Rhythmic patterns that go against the meter Diminution ‐ When a melody, theme or motif is given proportionately shorter duration values Dominant Seventh (7th) Chords – A seventh chord built on the fifth tone of a scale Hemiola – 3/2 rhythmic ratio, or duple feel in triple meter NonTraditional Use of Piano – Altering the traditional sound of the piano strings without use of prepared materials (i.e. muting or creating harmonics with the hand) Pandiatonicism – Diatonic tonality which avoids traditional chord movement; Freely using all the notes of a diatonic scale without hierarchy Parallelism – Movement of two or more lines in the same direction and rhythm Pentatonic Scale – A five note scale Percussive Piano – Using the wooden surfaces of the piano to make knocking, slapping, or drumming sounds Polyrhythm – Different rhythms used simultaneously; Simultaneous use of rhythms with different subdivisions Polytonality – Simultaneous use of different tonalities Prepared Piano – Altering the sound of the piano through external methods (i.e. muting strings with erasers, changing the timbre with bolts or other objects) Quartal Chords – Harmony built on fourths Quintal Chords – Harmony built on fifths Secondary Dominant Chords – The dominant chord of the fifth tone of a scale (used in temporarily changing keys) Split Thirds (3rds) – A chord simultaneously using both the major and minor 3rd degree of the scale and labeled with (3!). Example: C, E‐flat, E‐natural, G. Whole Tone Scale – Scale made up of only whole steps Also Added – Names of Scale Degrees: Tonic, Supertonic, Mediant, Subdominant, Dominant, Submediant, & Leading Tone *The definitions above are simplified for the benefit of the students, but are derived from the Oxford and Grove Dictionaries of music with the exception of the term “contrametrics”, which comes from Nicolas Slonimsky. .

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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 ...............................................
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0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
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