DOCSLIB.ORG

Music Theory - Wikipedia, the Free Encyclopedia Music Theory from Wikipedia, the Free Encyclopedia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music Theory - Wikipedia, the Free Encyclopedia Music Theory from Wikipedia, the Free Encyclopedia 1/28/2016 Music theory - Wikipedia, the free encyclopedia Music theory From Wikipedia, the free encyclopedia Music theory is the study of the practices and possibilities of music. It generally derives from observation of, and involves hypothetical speculation about how musicians and composers make music. The term also describes the academic study and analysis of fundamental elements of music such as pitch, rhythm, harmony, and form, and refers to descriptions, concepts, or beliefs related to music. Because of the ever­expanding conception of what constitutes music (see Definition of music), a more inclusive definition could be that music theory is the consideration of any sonic phenomena, including silence, as it relates to music. The present article is about music theory properly speaking, i.e. about theories, speculations and hypotheses made about the various aspects or music. It describes the elements of music only insofar as they give way to such theories; other informations about these elements will be found in other articles such as Aspect of music and the specific parameters of music described Pythagoras and Philolaus engaged in there. Textbooks, especially in the United States of America, theoretical investigations, in a often also include under the term "theory" elements of musical woodcut from Franchinus Gaffurius, acoustics, considerations of musical notation, techniques of Theorica musicæ (1492) (often tonal) composition (Harmony and Counterpoint), etc., which will not be dealt with as such here, but only as they were the subject of theories and hypotheses. Music theory is a subfield of musicology, which is itself a subfield within the overarching field of the arts and humanities. Etymologically, music theory is an act of contemplation of music, from the Greek θεωρία, a looking at, viewing, contemplation, speculation, theory, also a sight, a spectacle.[1] As such, it is often concerned with abstract musical aspects such as tuning and tonal systems, scales, consonance and dissonance, and rhythmic relationships, but there is also a body of theory concerning such practical aspects as the creation or the performance of music, orchestration, ornamentation, improvisation, and electronic sound production.[2] A person who researches, teaches, or writes articles about music theory is a music theorist. University study, typically to the M.A. or Ph.D level, is required to teach as a tenure­ track music theorist in an American or Canadian university. Methods of analysis include mathematics, graphic analysis, and, especially, analysis enabled by Western music notation. Comparative, descriptive, statistical, and other methods are also used. The development, preservation, and transmission of music theory may be found in oral and practical music­making traditions, musical instruments, and other artifacts. For example, ancient instruments from Mesopotamia, China,[3] and prehistoric sites around the world reveal details about the music they produced and, potentially, something of the musical theory that might have been used by their makers (see History of music and Musical instrument). In ancient and living cultures around the world, the deep and long roots of music theory are clearly visible in instruments, oral traditions, and current music making. Many cultures, at least as far back as ancient Mesopotamia and ancient China have also considered music theory in more formal ways such as written treatises and music notation. htCtps:o//enn.wtiekipnedtisa.org/wiki/Music_theory 1/29 1/28/2016 Music theory - Wikipedia, the free encyclopedia Contents 1 History 1.1 Prehistory 1.2 Antiquity 1.2.1 Mesopotamia 1.2.2 China 1.2.3 India 1.2.4 Greece 1.3 Middle Ages 1.3.1 China 1.3.2 Arabic countries 1.3.3 Europe 1.4 Modern 1.4.1 China 1.4.2 Arabic countries 1.4.3 Europe 1.4.3.1 Renaissance 1.4.3.2 Baroque 1.4.3.3 1750­1900 1.5 Contemporary 2 Fundamentals of music 2.1 Pitch 2.2 Scales and modes 2.3 Consonance and dissonance 2.4 Rhythm 2.5 Melody https://en.wikiped2ia..6orgC/whikoi/rMdusic_theory 2/29 1/28/2016 Music theory - Wikipedia, the free encyclopedia 2.6 Chord 2.7 Harmony 2.8 Timbre 2.8.1 Dynamics 2.8.2 Articulation 2.9 Texture 2.10 Form or structure 2.11 Analysis 2.12 Music perception and cognition 2.13 Expression 2.14 Genre and technique 2.15 Mathematics 2.16 Serial composition and set theory 2.17 Musical semiotics 3 Music subjects 3.1 Notation 4 Education and careers 5 See also 6 Notes 7 Sources 8 Further reading 9 External links History Prehistory Preserved prehistoric instruments, artifacts, and later, depictions of performance in artworks give insight into early music­making and as such, might implicitly reveal something of a prehistoric theory of music. See for instance Paleolithic flutes, Gǔdí, Anasazi flute. https://en.wikipedia.org/wiki/Music_theory 3/29 1/28/2016 Music theory - Wikipedia, the free encyclopedia Antiquity Mesopotamia See also Music of Mesopotamia Sumerian and Akkadian tablets do include musical information of a theoretical nature, mainly lists of intervals and tunings.[4] Three tablets in particular, the first one known as the Philadelphia tablet (CBS 10996), the second one preserved in the British Museum (U. 3011), and the third one in the Berlin Museum (KAR 158), name intervals from a pentatonic or possibly a heptatonic scale. Another tablet from Ur (British Museum, U.7/80) similarly names the intervals for tuning a harp of seven strings, probably by a cycle of fifths.[5] These texts are concerned mainly with terminology and with mathematical descriptions.[6] China See also Music of China; Chinese musicology Much about Chinese music history and theory remains unclear.[7] The earliest texts about Chinese music theory are inscribed on the stone and bronze bells excavated in 1978 from the tomb of Marquis Yi (died 433 BCE) of the Zeng state. They include more than 2800 words describing theories and practices of music pitches of the time. The bells produce two intertwined pentatonic scales three tones apart, with additional pitches completing the chromatic scale.[8] Chinese theory starts from numbers, the main musical numbers being twelve, five and eight. Twelve refers to the number of pitches on which the scales can be constructed. The Lüshi chunqiu from about 239 BCE recalls the legend of Ling Lun. On order of the Yellow Emperor, Ling Lun collected twelve bamboo lengths with thick and even nodes. Blowing on one of these like a pipe, he found its sound agreeable and named it huangzhong, the "Yellow Bell." He then heard phoenixes singing. The male and female phoenix each sang six tones. Ling Lun cut his bamboo pipes to match the pitches of the phoenixes, producing twelve pitch pipes in two sets: six from the male phoenix and six from the female: these were called the lülü or later the shierlü.[9] The lülü formed the ritual scale to which many instruments were tuned. The name of the lowest sound, huangzhong also implyed 'musical correctness.' Its pitch formed a pitch standard, setting the base pitch of zithers, flutes and singers of imperial court orchestras. Straight­walled pitch pipes without finger holes were made of cast metal, their lengths specified by court regulations.[10] The resulting chromatic scale provided twelve fundamental notes for the construction of the musical scales themselves. The lülü also has a cosmological value: its notes describe the energetic frequency of the twelve months of the year, the daily rhythm of the twelve bi­hours of the Chinese clock, the twelve main acupuncture meridians, etc.[11] The two sets of tones (male and female) dividing the twelve­tone scale were generated by the "Method of Subtracting and Adding Thirds," or sanfen sunyi, which involved alternately rising a fifth and descending a fourth through the subtraction or addition of a third of the length of the preceding pitch pipe. The resulting pitches produced by adding a third (and descending a fourth) were referred to by Sima Qian in the Records of the Grand Historian (91 BCE) as pitches of "superior generation," that is, https://en.wikipedia.org/wiki/Music_theory 4/29 1/28/2016 Music theory - Wikipedia, the free encyclopedia the pitches of Ling Lun’s male phoenix; the pitches produced by subtracting a third (and ascending a fifth) were referred to as pitches of "inferior generation," that is, the pitches of Ling Lun’s female phoenix.[9] "Apart from technical and structural aspects, ancient Chinese music theory also discusses topics such as the nature and functions of music. The Yueji ("Record of music", c1st and 2nd centuries BCE), for example, manifests Confucian moral theories of understanding music in its social context. Studied and implemented by Confucian scholar­officials [...], these theories helped form a musical Confucianism that overshadowed but did not erase rival approaches. These include the assertion of Mozi (c468–c376 BCE) that music wasted human and material resources, and Laozi’s claim that the greatest music had no sounds. [...] Even the music of the qin zither, a genre closely affiliated with Confucian scholar­officials, includes many works with Daoist references, such as Tianfeng huanpei ("Heavenly Breeze and Sounds of Jade Pendants")."[12] India The Samaveda and Yajurveda (c. 1200­1000 BCE) are among the earliest testimonies of Indian music, but they contain no theory properly speaking. The Natya Shastra, written between 200 BCE to 200 CE, discusses intervals (Śrutis), scales (Grāmas), consonances and dissonances, classes of melodic structure (Mūrchanās, modes?), melodic types (Jātis), instruments, etc.[13] Greece See also Musical system of ancient Greece; List of music theorists#Antiquity Early preserved Greek writings on music theory include two types of works:[14] technical manuals describing the Greek musical system including notation, scales, consonance and dissonance, rhythm, and types of musical compositions treatises on the way in which music reveals universal patterns of order leading to the highest levels of knowledge and understanding.
Load more

Recommended publications
  • Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
    MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake.
    [Show full text]
  • Composers for the Pipe Organ from the Renaissance to the 20Th Century
    Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today.
    [Show full text]
  • Download Contemporary Music Theory Free Ebook
    CONTEMPORARY MUSIC THEORY DOWNLOAD FREE BOOK Mark Harrison | 312 pages | 01 Jan 1999 | Hal Leonard Corporation | 9780793598816 | English | Milwaukee, United States Contemporary Music Theory: Level One / Edition 1 Music theory as a practical discipline encompasses the methods and concepts composers and other musicians use in creating music. The difference in pitch between two Contemporary Music Theory is called an interval. Iraq — Retrieved 2 October Yearbook for Traditional Music — Methods of analysis include mathematics, graphic analysis, and especially analysis enabled by Western music notation. Ghrab, Anas Berlin: Museum fur Volkerkunde. Wright, Contemporary Music Theory b. Yet, by themselves these are not enough. Product Details About the Author. Add to Wishlist. Main article: Chord music. In musicharmony is the use of simultaneous pitches tonesnotesor chords. Contemporary Music Theory moneda. Expanding on the methods of musical set theory, some Contemporary Music Theory have used abstract algebra to analyze music. These abilities need to be coupled with an understanding of contemporary music theory that provides the framework on which to build great playing techniques. Unique key signatures are also sometimes Contemporary Music Theory for a particular composition. Non-Western cultures often use scales that do not correspond with an equally divided twelve-tone division of the octave. This was the source of the hexachordal solmization that was to be used until the end of the Middle Ages. Consonance and dissonance are subjective qualities of the sonority of intervals that vary widely in different cultures and over the ages. Unsourced material may be challenged and removed. Novello, Ewer, and Co. As we examine where we fall along this spectrum, we should Contemporary Music Theory in mind the wise words of the cultural historian David Couzens Hoy: Historical breaks do not occur everywhere for everyone at the same time.
    [Show full text]
  • Music Theory Contents
    Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................
    [Show full text]
  • The "Arabian Influence" Thesis Revisited
    The "Arabian Influence" Thesis Revisited By Shai Burstyn The Eastern influence on medieval European music was a hotly debated topic in the musicological literature from the early 1920s through the 1940s.! Interest in the "Arabian Influence" thesis has reawakened in recent years and appears to be slowly but surely gathering momentum again.2 Firmly convinced that the origins of Western chant were rooted in Eastern sources (Byzantine, Syriac, and ultimately Jewish), chant specialists made efforts to uncover East-West links in the first Christian centuries-efforts ! Some of the landmarks in the debate include Henry G. Farmer, "Clues for the Arabian Influence on European Musical Theory," Journal oJ the Royal Asiatic Society (1925): 61-80 (republished by Harold Reeves [London, 1925]); idem, Historical Facts for the Ara­ bian Musical Influence (London: Reeves, 1930); Kathleen Schlesinger, "Is Ewopean Musical Theory Indebted to the Arabs?" The Musical Standard 2 (16 May 1925; republished by Harold Reeves [London, 1925]); Julian Ribera, Music in Ancient Arabia and Spain (Stanford: Stanford University Press, 1929); Otto Ursprung, "Urn die Frage nach dem arabischen bzw. maurischen Einfluss auf die abendliindische Musik des Mittelalters," Zeitschrift fur Musikwissenschaft 16 (1934): 129-41; Marius Schneider, "A proposito del influjo arabe," Anuario musical 1 (1946): 31-141; and idem, "Arabischer Einfluss in Spanien?" Gesellschaftfur Musikforschung: Kongress-Bericht, Bamberg 1953 (Kassel: Biirenreiter, 1954), 175-81. For a comprehensive bibliography of the manifold aspects of the question, see Eva Perkuhn, Die Theorien zum arabischen Einfluss auf die europiiische Musik des Mittelalters (Walldorf-Hessen: Verlag fUr Orientkunde, 1976). Throughout this article I use the general, somewhat vague geographical designation "Eastern" for lack of a more precise term.
    [Show full text]
  • Italian Musical Culture and Terminology in the Third Volume of Michael Praetorius’S Syntagma Musicum (1619)
    Prejeto / received: 3. 6. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.04 ITALIAN MUSICAL CULTURE AND TERMINOLOGY IN THE THIRD VOLUME OF MICHAEL PRAETORIUs’S SYNTAGMA MUSICUM (1619) Marina Toffetti Università degli Studi di Padova Izvleček: Bralec tretjega zvezka Syntagme mu- Abstract: From the third volume of Michael sicum Michaela Praetoriusa dobi vtis, da so bili Praetorius’s Syntagma musicum one receives po mnenju avtorja na tekočem le tisti glasbeniki, the impression that, according to its author, ki so znali skladati, igrati ali peti »all'italiana«, only those who were able to compose, play or torej na italijanski način. Zato to delo predstavlja sing ‘all’italiana’ (in the Italian manner) were nekakšno ogledalo miselnosti in razumevanja considered culturally up-to-date. This treatise načina recepcije italijanske glasbe severno od can therefore be seen as a mirror reflecting Alp v drugem desetletju 17. stoletja. Razprava, ki the way in which Italian music was perceived temelji na ponovnem branju tretje knjige Prae- north of the Alps in the second decade of the toriusovega traktata Syntagma musicum, govori seventeenth century. The present article, based o tem, kako so v prvih desetletjih 17. stoletja on a re-reading of the third volume of Syntagma krožile glasbene knjige ter kako je asimilacija musicum, shows how in the early decades of italijanske glasbene kulture in terminologije the seventeenth century the circulation and prežela nemško govoreče dežele in doprinesla the assimilation of Italian musical culture and h genezi panevropskega glasbenega sloga in terminology was far-reaching in the German- terminologije. speaking countries, contributing to the genesis of a pan-European musical style and terminology.
    [Show full text]
  • Rhetoric, Poetics, and Choice in the Cantiones Sacrae of Heinrich Schütz
    Rhetoric, Poetics, and Choice in the Cantiones Sacrae of Heinrich Schütz by Jonathon Barranco, M.M., B.M. A Dissertation In Choral Conducting Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Approved Dr. John Hollins Co-chair of Committee Dr. Alan Zabriskie Co-chair of Committee Dr. Angela Mariani Mark Sheridan Dean of the Graduate School May, 2020 Copyright 2020, Jonathon Barranco Texas Tech University, Jonathon Barranco, May 2020 ACKNOWLEDGMENTS This work would not have been possible without the support of so many. I want to thank Dr. John Hollins for his endless knowledge and enthusiasm in guiding me through my own discovery of this topic. Our many hours spent together working through this music has increased my musicianship in more ways than I can express. Thanks also to Dr. Alan Zabriskie for sharing your knowledge and working to instill in me the artistry needed to present this music and my ideas about it with clarity and confidence. And thank you to Dr. Angela Mariani for helping encourage and inspire the genesis of this project, and for showing me that early music practice is a vibrant, creative, and thoroughly modern pursuit. Thank you to my many colleagues and friends who supported me through conversations about this topic and in the performance of these incredible works. Your intelligence and musicality inspired me to find and express more of the beauty in this music. A special thanks to my mom and dad whose love and continual support has given me confidence at each step.
    [Show full text]
  • Music in the World of Islam a Socio-Cultural Study
    Music in the World of Islam A Socio-cultural study Arnnon Shiloah C OlAR SPRESS © Arnnon Shiloah, 1995 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise withoııt the prior permission of the pııb­ lisher. Published in Great Britain by Scolar Press GowerHouse Croft Road Aldershat Hants GUll 31-IR England British Library Cataloguing in Pııblication Data Shiloah, Arnnon Music in the world of Islam: a socio-cultural study I. Title 306.4840917671 ISBN O 85967 961 6 Typeset in Sabon by Raven Typesetters, Chester and printed in Great Britain by Biddles Ltd, Guildford 5 The Scienceof Music General background The treatment of Arabic music theory as a subject of significant intellectual value per se began with the process of translation of non~Arab texts, mainly Greek trearises on music. Under Caliph al-Ma'mlln (813-33), the process of accumulating and translaring Greek scientific and philosophic books reached its culmination and becamı~ a well-organized activity. The Institute of Science- Bayt al-hikma- created by al-Ma'mfuı and established at the huge government-sup.ported library in Baghdad, became a centre of transla­ tion into Arabic. Among the most active translators were the Nestorian Christian from al-J:Ilra, J:Iunayn ibn IsJıiiq (d. 873); his son Is~iiq (d. 911); and the distinguished mathematician and astrologer Thabit ibn Qurra (a member ofthe pagan commuriity ofJ:Iarriin) (d. 901). Consequently, a large corpus of Greek scientific and philosophical writings was thereafter wirbin reach of Arabic-reading scholars.
    [Show full text]
  • Music Theory from Wikipedia, the Free Encyclopedia
    Music theory From Wikipedia, the free encyclopedia Music theory is the study of the practices and possibilities of music. It generally derives from observation of how musicians and composers make music, but includes hypothetical speculation. Most commonly, the term describes the academic study and analysis of fundamental elements of music such as pitch, rhythm, harmony, and form, but also refers to descriptions, concepts, or beliefs related to music. Because of the ever-expanding conception of what constitutes music (see Definition of music), a more inclusive definition could be that music theory is the consideration of any sonic phenomena, including silence, as it relates to music. Music theory is a subfield of musicology, which is itself a subfield within the overarching field of the arts and humanities. Etymologically, music theory is an act of contemplation of music, from the Greek θεωρία, a looking at, viewing, contemplation, speculation, theory, also a sight, a spectacle.[1] As such, it is often concerned with abstract musical aspects such as tuning and tonal systems, scales, consonance and dissonance, and rhythmic relationships, but there is also a body of theory concerning such practical aspects as the creation or the performance of music, orchestration, ornamentation, improvisation, and electronic sound production.[2] A person working in music theory is a music theorist. Methods of analysis include mathematics, graphic analysis, and, especially, analysis enabled by Western music notation. Comparative, descriptive, statistical, and other methods are also used. The development, preservation, and transmission of music theory may be found in oral and practical music-making traditions, musical instruments, and other artifacts.
    [Show full text]
  • AN EXPLORATION of the KEY CHARACTERISTICS in BEETHOVEN's PIANO SONATAS and SELECTED INSTRUMENTAL REPERTOIRE Dimitri Papadimit
    AN EXPLORATION OF THE KEY CHARACTERISTICS IN BEETHOVEN’S PIANO SONATAS AND SELECTED INSTRUMENTAL REPERTOIRE Dimitri Papadimitriou Dissertation submitted to Dublin City University in partial fulfilment of the requirements for the degree Doctor of Music Performance ROYAL IRISH ACADEMY OF MUSIC Supervisor: Dr. Denise Neary July 2013 Declaration I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Music Performance, is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed:_____________________________ ID No.:_____________ Date: _______________ Terms and Conditions of Use of Digitised Theses from Royal Irish Academy of Music Copyright statement All material supplied by Royal Irish Academy of Music Library is protected by copyright (under the Copyright and Related Rights Act, 2000 as amended) and other relevant Intellectual Property Rights. By accessing and using a Digitised Thesis from Royal Irish Academy of Music you acknowledge that all Intellectual Property Rights in any Works supplied are the sole and exclusive property of the copyright and/or other Intellectual Property Right holder. Specific copyright holders may not be explicitly identified. Use of materials from other sources within a thesis
    [Show full text]
  • Beethoven's Compositional Approach to Multi-Movement Structures in His
    Beethoven’s Compositional Approach to Multi-Movement Structures in his Instrumental Works A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2013 ERICA BUURMAN SCHOOL OF ARTS, LANGUAGES AND CULTURES Contents List of Tables................................................................................................................ 6 List of Music Examples ............................................................................................... 7 Abstract ...................................................................................................................... 11 Declaration ................................................................................................................. 12 Copyright Statement .................................................................................................. 13 Acknowledgements .................................................................................................... 14 Abbreviations ............................................................................................................. 15 Note on the Transcriptions ......................................................................................... 17 Chapter 1—Introduction ............................................................................................ 18 1.1—Aims .............................................................................................................. 18 1.2—Contexts .......................................................................................................
    [Show full text]
  • Chromatic Techniques in Baroque Variation Sets and Their Relationship to Late Madrigals by © 2019 Christopher W
    A Striking Effect: Chromatic Techniques in Baroque Variation Sets and Their Relationship to Late Madrigals By © 2019 Christopher W. Gage Submitted to the graduate degree program in Music Theory and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. _____________________________ Chair: Scott Murphy _____________________________ Michael Bauer _____________________________ Bradley Osborn _____________________________ Roberta Schwartz _____________________________ William Keel Date Defended: 14 May 2019 The dissertation committee for Christopher W. Gage certifies that this is the approved version of the following dissertation: A Striking Effect: Chromatic Techniques in Baroque Variation Sets and Their Relationship to Late Madrigals _____________________________ Chair: Scott Murphy Date Approved: 14 May 2019 ii ABSTRACT One of the most widely used approaches in tonal music, variation technique has informed centuries of composition. Beginning with Jan Pieterszoon Sweelinck, the Baroque keyboard variation set was a prominent form; one particular multimovement variation set, commonly called the “partita,” included various treatments of a given theme, sacred or secular, in a display of compositional variety. One treatment occurs with some regularity and involves a harmonization of a chorale tune in which chromaticism is pervasive, having a non-diatonic note on every beat or including key areas that are more distant than was customary. This dissertation explores the chromatic variation with one broad question: how is this chromaticism generated? Are there particular aspects of a chorale melody that give rise to this treatment? What are the main compositional techniques that constitute a chromatic movement? Using detailed analyses of four pieces—Johann Sebastian Bach, O Gott du frommer Gott, BWV 767/7; Johann Pachelbel, Was Gott tut, das ist wohlgetan, variation 4; Pachelbel, Alle Menschen müßen sterben, var.
    [Show full text]