Bent, Diatonic Ficta Revisited
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AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
Investigations Into the Zarlino-Galilei Dispute
WHERE NATURE AND ART ADJOIN: INVESTIGATIONS INTO THE ZARLINO- GALILEI DISPUTE, INCLUDING AN ANNOTATED TRANSLATION OF VINCENZO GALILEI’S DISCORSO INTORNO ALL’OPERE DI MESSER GIOSEFFO ZARLINO Randall E. Goldberg Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music Indiana University February 2011 UMI Number: 3449553 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3449553 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ____________________________ Thomas J. Mathiesen ____________________________ Massimo Ossi ____________________________ Ayana Smith ____________________________ Domenico Bertoloni Meli February 8, 2011 ii Copyright © 2011 Randall E. Goldberg iii Dedication For encouraging me to follow my dreams and helping me “be the ball,” this dissertation is dedicated with love to my parents Barry and Sherry Goldberg iv Acknowledgments There are many people and institutions that aided me in the completion of this project. First of all, I would like thank the Jacobs School of Music at Indiana University. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
37<F Aisid M . HZ-Li CADENTIAL SYNTAX and MODE in THE
37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 Hamrick, David Russell, Cadential syntax and mode in the sixteenth-century motet: a theory of compositional process and structure from Gallus Dressier's Praecepta musicae poeticae. Doctor of Philosophy (Musicology), May, 1996, 282 pp., 101 tables, references, 127 titles. Though cadences have long been recognized as an aspect of modality, Gallus Dressier's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressier's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. -
An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways. -
Music for a While’ (For Component 3: Appraising)
H Purcell: ‘Music for a While’ (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659–95) was an English Baroque composer and is widely regarded as being one of the most influential English composers throughout the history of music. A pupil of John Blow, Purcell succeeded his teacher as organist at Westminster Abbey from 1679, becoming organist at the Chapel Royal in 1682 and holding both posts simultaneously. He started composing at a young age and in his short life, dying at the early age of 36, he wrote a vast amount of music both sacred and secular. His compositional output includes anthems, hymns, services, incidental music, operas and instrumental music such as trio sonatas. He is probably best known for writing the opera Dido and Aeneas (1689). Other well-known compositions include the semi-operas King Arthur (1691), The Fairy Queen (1692) (an adaptation of Shakespeare’s A Midsummer Night’s Dream) and The Tempest (1695). ‘Music for a While’ is the second of four movements written as incidental music for John Dryden’s play based on the story of Sophocles’ Oedipus. Dryden was also the author of the libretto for King Arthur and The Indian Queen and he and Purcell made a strong musical/dramatic pairing. In 1692 Purcell set parts of this play to music and ‘Music for a While’ is one of his most renowned pieces. The Oedipus legend comes from Greek mythology and is a tragic story about the title character killing his father to marry his mother before committing suicide in a gruesome manner. -
Pietro Aaron on Musica Plana: a Translation and Commentary on Book I of the Libri Tres De Institutione Harmonica (1516)
Pietro Aaron on musica plana: A Translation and Commentary on Book I of the Libri tres de institutione harmonica (1516) Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Joseph Bester, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Graeme M. Boone, Advisor Charles Atkinson Burdette Green Copyright by Matthew Joseph Bester 2013 Abstract Historians of music theory long have recognized the importance of the sixteenth- century Florentine theorist Pietro Aaron for his influential vernacular treatises on practical matters concerning polyphony, most notably his Toscanello in musica (Venice, 1523) and his Trattato della natura et cognitione de tutti gli tuoni di canto figurato (Venice, 1525). Less often discussed is Aaron’s treatment of plainsong, the most complete statement of which occurs in the opening book of his first published treatise, the Libri tres de institutione harmonica (Bologna, 1516). The present dissertation aims to assess and contextualize Aaron’s perspective on the subject with a translation and commentary on the first book of the De institutione harmonica. The extensive commentary endeavors to situate Aaron’s treatment of plainsong more concretely within the history of music theory, with particular focus on some of the most prominent treatises that were circulating in the decades prior to the publication of the De institutione harmonica. This includes works by such well-known theorists as Marchetto da Padova, Johannes Tinctoris, and Franchinus Gaffurius, but equally significant are certain lesser-known practical works on the topic of plainsong from around the turn of the century, some of which are in the vernacular Italian, including Bonaventura da Brescia’s Breviloquium musicale (1497), the anonymous Compendium musices (1499), and the anonymous Quaestiones et solutiones (c.1500). -
A Case Study in Hexachordal Solmization As a Guide to Musica Recta and Musica Ficta in Fifteenth-Century Vocal Music
From the Singer's Point of View: A Case Study in Hexachordal Solmization as a Guide to Musica Recta and Musica Ficta in Fifteenth-Century Vocal Music By Daniel Zager A treatise by the sixteenth-century Papal musician Ghiselin Danckerts preserves the details of an interesting controversy among some professional singers in Rome. Presuppositions concerning modal purity together with cer tain ambiguities of unspecified accidentals in a Lamentation setting by the Spanish composer Juan Escribano combined to provide these performers with some difficulties in the matter of the pitches to be, sung. In his discus sion of this episode, Lewis Lockwood observes that "many performers of the time must have found the problem as difficult as we do today."! Our difficul ties in such questions of pitch, and in the concomitant consideration of edito rial accidentals, derive from at least two considerations. First, modern editors have not always made a consistent conceptual dis tinction between musica ficta and musica recta. The term musica ficta has fre quently been used incorrectly to embrace all of the editorial accidentals added to modern scores of Renaissance music. In fact, many of these editori al accidentals, specifically many Bhs, may be explained and should be under stood in terms of the standard system of musica recta as delineated in the gamut, the theoretical framework by which the fifteenth-century composer and singer defined musical space! Musicaficta, on the other hand, refers only to pitches outside of the gamut. The distinction is crucial, for while the fif teenth-century singer, and, by implication, his modern counterpart, would normally avoid entering ficta hexachords unless necessary, there was simply no reason to avoid the Bhs of musica recta. -
Concerning the Ontological Status of the Notated Musical Work in the Fifteenth and Sixteenth Centuries
Concerning the Ontological Status of the Notated Musical Work in the Fifteenth and Sixteenth Centuries Leeman L. Perkins In her detailed and imaginative study of the concept of the musical work, The Imag;inary Museum of Musical Works (1992), Lydia Goehr has made the claim that, prompted by "changes in aesthetic theory, society, and poli tics," eighteenth century musicians began "to think about music in new terms and to produce music in new ways," to conceive of their art, there fore, not just as music per se, but in terms of works. Although she allows that her view "might be judged controversial" (115), she asserts that only at the end of the 1700s did the concept of a work begin "to serve musical practice in its regulative capacity," and that musicians did "not think about music in terms of works" before 1800 (v). In making her argument, she pauses briefly to consider the Latin term for work, opus, as used by the theorist and pedagogue, Nicolaus Listenius, in his Musica of 1537. She acknowledges, in doing so, that scholars in the field of music-especially those working in the German tradition-have long regarded Listenius's opening chapter as an indication that, by the sixteenth century, musical compositions were regarded as works in much the same way as paintings, statuary, or literature. She cites, for example, the monographs devoted to the question of "musical works of art" by Walter Wiora (1983) and Wilhelm Seidel (1987). She concludes, however, that their arguments do not stand up to critical scrutiny. There can be little doubt, surely, that the work-concept was the focus of a good deal of philosophical dispute and aesthetic inquiry in the course of the nineteenth century. -
Harmony Simplified : Or, the Theory of the Tonal Functions of Chords
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY HENRY WILLIAMS SAGE MUSIC rn n ' Ver8i,y "**" MT 50.R55 i896 3 1924 022 305 357 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022305357 ATJGENER'S EDITION No. 9198 HARMONY SIMPLIFIED OR THE THEORY OF THE TONAL FUNCTIONS OF CHORDS. BV DR. HUGO RIEMANN, Professor of Musical Science at Leipzig University TRANSLATED FROM THE GERMAN. THIRD IMPRESSION AUGENER LTD. LONDON Printed in England by AUGENER Ltd., 287 Acton Lane, London, W. 4. ©e&tcatefc TO PROFESSOR EBENEZER PROUT. B.A., Professor of Music in the University of Dublin, etc. THE DISTINGUISHED PIONEER OF MUSICAL PROGRESS. THE AUTHOR —— $ — CONTENTS. Introduction page i. (Harmony—Melody —Tone relationship — Overtones — Undertones — Majoi chord and minor chord—The three functions—Modulation.) CHAPTER I. Writing Confined to Pure Principal Harmonies (Tonic and Dominants) page 10. § I. Overclangs and Underclangs. §2. Four-part writing—The writing of single chords. §3. Plain-fifth step (T—D and °T—° S)—The con- nection of chords—Consecutive octaves—Chords of six-four (-Z?Jand S\i)- §4. Contra-fifth step (T—S and "T—°D)—Complete (bi-lateral) cadences. § 5. The whole-tone step (S—D and °D—°S)—Consecu- + tive fifths tritone— Score. 6. turn —"J? —The § The of harmony ( T and + + + °T— D)—Contra-fifth change {°S—Z> ) and fifth-change (°S — S + and "D— -D)—Diminished and augmented part-progressions—False relation —Modulation. -
An Analysis of Tonal Conflict in Stravinsky's
Hieratic Harmonies: An Analysis of Tonal Conflict in Stravinsky’s Mass A thesis submitted by Joseph Michael Annicchiarico In partial fulfillment of the requirements for the degree of Master of Arts in Music Tufts University May 2016 Adviser: Frank Lehman Abstract Igor Stravinsky’s Mass is the penultimate work of his neoclassical phase, written between the years of 1944 and 1948, just before his landmark piece The Rake’s Progress. The Mass is a highly “conflicted” work, both culturally and musically. As World War II was racing towards its tumultuous end, Stravinsky—oddly, without commission—decided to write a Mass, which is peculiar for someone who converted to the Russian Orthodoxy many years earlier. Musically speaking, the work exhibits conflicts, predominantly in the dialectic between tonality and atonality. Like the war, Stravinsky himself was nearing a turning point—the end of his neoclassical style of composition—and he was already thinking ahead to his opera and beyond. This thesis offers an analysis based on the idea of musical conflict, highlighting the syntactical dialogues between two tonal idioms. My work focuses heavily in particular on the pitch-class set (4–23) [0257], and the role that it plays in both local and global parameters of the work, as well as its interactions with non-functional tonal elements. Each movement will be analyzed as its own unit, but some large-scale relations will be drawn as well. My analysis will bring in previous work from two crucial investigations of the work—by V. Kofi Agawu, and by the composer Juliana Trivers. The Mass has never been a widely discussed work in the oeuvre of such a popular composer, but my hope is that this thesis can help rectify this by bringing overdue analytical attention to crucial elements of Stravinsky’s language in the piece. -
Counterpoint: Strict and Free
....' 111 l« H:;v^,',:-;;-''.:,?. CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY r/ILLIAMS SAGE rn IVW,,,y "*"* MT 55.P97 i890 nt: s,rict and free Smm ™Ri i 3 1924 021 789 650 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021789650 : AUGENER'S EDITION, No. 918S. COUNTERPOINT: STRICT AND FREE. BY EBENEZER PROUT, B.A. Lond. (Professor of Harmony and Composition at the Royal Academy of Music), Author of "Harmony : Its Theory and Practice," etc. THIRD EDITION. PIANO ft MUSIC DEPfirJ. W. BRUNT & SONS, DRAWBRIDGE, BRISTOL.. LONDON ATJGENER & CO. {entered at stationers' hall.] Copyright for all Countries.] [Rights of Translation Reserved. " PREFACE. The present volume is the partial fulfilment of the promise made in the preface to Harmony : Its Theory and Practice, to follow that work by a treatise on practical composition. The author's first intention was to write a book on this subject, as a companion to his Harmony ; but as soon as he began to think the matter seriously over, it became apparent that it was quite impossible, within the limits of a single volume, to treat so extensive a subject except in the most superficial manner. Holding firmly to the opinion that whatever is worth doing at all is worth doing thoroughly, he thereupon modified and enlarged his original plan, and resolved (should life and health be spared) to prepare a complete series of treatises on composition, which should embrace all the different branches of that art.