Cavanagh, Lynn, M. "Tonal Multiplicity in Schoenberg's First String Quartet, Op. 7"
AUTHOR: Cavanagh, Lynn, M.
TITLE: "Tonal Multiplicity in Schoenberg's First String Quartet,
Op. 7"
INSTITUTION: The University of British Columbia
School of Music
6361 Memorial Road
Vancouver, BC V6T 1W5
BEGUN: January, 1993
COMPLETION: June, 1996
ABSTRACT:
This study describes the integration of harmonic idiom and
tonal design in Schoenberg's First Quartet, op. 7. Chapter 1
identifies a prime motivator of foreground chromaticism--the chromatic
surrounding of tonic and dominant pitches--and discusses two features
that apply to Schoenberg's tonal music but contravene
common-practice-period norms: tonal structure consisting of a pattern
of keys and systematic use of dual or even multiple tonics in place of
monotonality. The next four chapters describe tonal processes within
and across the composition's four movements. Chapters 2 through 4
reveal that as well as a deep- middleground-level chromatic
surrounding of D, the work's tonal processes include systematic
avoidance of V-I function in the opening key (D), tonal rivalries
between D and each of its two semitone-related keys, and in one short
section a plagal system of tonality. Chapter 5 shows that the
conclusion ultimately eschews a simple relationship between the
A-major tonic of the rondo and the D-major tonic of the coda by
allowing the infiltration of elements of the D-flat-major collection.
Chapter 6 summarizes the evidence that contradicts a monotonal
understanding of the composition and supports a view of multi-tonal
coherence.
KEYWORDS: tonal, structure, coherence, chromatic, rivalry, multi-tonal,
plagal.
TOC: 1 Theoretical Bases
2 The Tonal Structure of Part I
3 The Tonal Structure of Part II
4 The Tonal Structure of Part II
5 The Tonal Structure of Part IV
6 Conclusion
Home Address: 1529 San Juan Ave.
Victoria, BC V8N 2L4
tel. 604/721-2635
O Maidin, Donncha Sean. "A Programmer's Environment for Music Analysis"
AUTHOR: O Maidin, Donncha Sean. TITLE: "A Programmer's Environment for Music Analysis". INSTITUTION: National University of Ireland at University College Cork. BEGIN: September 1991 (current version). COMPLETION: October 1995. ABSTRACT: A model for representing music scores in a form suitable for general processing by a music-analyst-programmer is proposed and implemented. Typical input to the system consists of one or more pieces of music which are encoded in a file-based score representation. File-based representations are in a form unsuited for general processing, as they do not provide a suitable level of abstraction for a programmer-analyst. Instead a representation is created giving a programmer's view of the score, which frees the programmer from implementation details, that otherwise would form a substantial barrier to progress. The score representation uses an object-oriented approach to create a natural and robust software environment for the musicologist. The score representational system is used to explore ways in which it could benefit musicologists. Methodologies for analysing music corpora are presented in a series of analytic examples to illustrate some of the potential of this model. Proving hypotheses or performing analysis on corpora involves the construction of algorithms. The unique aspects of using a score model for corpus-based musicology are - - The specification of analytic algorithms imposes a discipline which arises from the necessity for a rigid level of formalism. - The relationship between the analyst and the material being analysed is put on an objective basis. The methods used have parallels with the action of the scientist investigating a phenomenon. Here the corpus corresponds to the physical world, and the algorithms correspond to the scientific tools. - Analytic tasks can be undertaken which would otherwise be unfeasible because of human limitations of attentiveness, time, energy and accuracy. KEYWORDS: score representation, common practice notation, automatic analysis, scale classification, melodic difference, object-oriented, programmer's environment TOC: 1. Introduction 2. Corpus-based Musicology 3. Survey of Score Representations and Computer Analyses 4. Goals and Formalisms 5. Score Views 6. Applications - Verification of Hypotheses 7. Applications - Investigatory Analyses 8. Achievements, Further Work and Conclusions CONTACT: Department of Computer Science, University of Limerick, Limerick, Ireland., Voice: +353 61 20 20 05 Fax:353 61 33 08 76.
AUTHOR: Rivest, Johanne TITLE: "Le Concert for Piano and Orchestra de John Cage ou les limites de l'indetermination" (English transl: "John Cage's Concert for Piano and Orchestra: the limits of indeterminacy") INSTITUTION: Universite de Montreal, Faculte de musique, C.P. 6128, Succ. Centre-ville, Montreal (Quebec), Canada, H3C 3J7 BEGUN: September 1989 COMPLETION: September 1996 ABSTRACT: John Cage's Concert for Piano and Orchestra, as an open form, confronts us with the problem of the notion of work of art and its identity. The graphic notation defines an indeterminacy of parameters and allows for a certain liberty in interpretation of the material in time that makes possible a variety of realizations. In order to better judge the openness of the Concert for Piano and Orchestra, one must attempt an investigation into the composer's intention which is apparent in his compositional procedures as well as his unique notation characteristics. Many other works, composed before and after Concert for Piano and Orchestra, are analitically described in the first chapter. The second chapter gives a synthesis of the analysis of the notational constructions in Concert for Piano and Orchestra, which is fully given in the appendix. The third chapter is entirely devoted to the notion of work of art as shown in some of the musicological literature. This survey sheds new light on the basis of which Cage's thinking and activity can be appraised, especially his specific way to conceive of indeterminacy in music composition. (French Dissertation) KEYWORDS: 20th-century, American music, John Cage, graphic notation, analysis, aesthetics, indeterminacy. TOC: 1) Problematique generale de l'activite compositionnelle de John Cage; 2) Le Concert for Piano and Orchestra, synthese de l'analyse; 3) Parcours musicologique autour de la notion d'oeuvre; Annexe) Analyse du Concert for Piano and Orchestra. CONTACT: 3564 de Bordeaux, Montreal (Quebec) Canada, H2K 3Z3. Voice: 514-523-4327. E-mail: rivestjo@ERE.UMontreal.CA
AUTHOR: Vachon, Pierre TITLE: Study of titles in the Piano Works of Robert Schumann, their function and meaning. (Ph.D., Musicology) INSTITUTION: Universite de Montreal Faculte de musique C.P. 6128, succursale Centre-ville Montreal (Quebec) H3C 3J7 Canada BEGUN: September 1994 COMPLETION: May 1998 ABSTRACT: The Nineteenth Century is marked by an important debate: that of program music vs. absolute music. Those who defend program music believe that the source of inspiration of a musical work is linked to an idea, a topic or a program of litterary or pictural nature. On the contrary, the defensors of absolute music beleive that the music is not conditioned by any idea or programm of any nature. The relation between text and music goes back several centuries and find its full expression in the piano music of Robert Schumann, which entails numerous titles drawn from litterature. Then, what is the relation between the title and the music, its form and meaning? Have titles an influence on the music as such? KEYWORDS: Piano music, extra-musical, titles, hermeneutics, semiology, semantics, analysis, Robert Schumann CONTACT: Pierre Vachon 470, avenue Walnut Saint-Lambert (Quebec) J4P 2T6 Canada Tel.: (514) 466-4226 FAX: (514) 466-9905
AUTHOR: Walker, Jonathan M.
TITLE: The Work-Concept in Music and Musicology: A
Philosophical Study (provisional title)
INSTITUTION: Queen's University Belfast, School of Music,
University Road, Belfast BT7 1NN, Northern Ireland, UK
BEGUN: October, 1992
COMPLETION: September, 1996
ABSTRACT:
This thesis concerns the complex of ontological,
epistemological, aesthetic, and methodological issues raised
by the concept of the musical work, as it arises both within
musical practice, and within musicological discourse. The
first two chapters provide the main philosophical substance
of the thesis: a critique of existing treatments of these
issues, and the construction of an alternative approach. The
second pair of chapters employs the foregoing philosophical
material in a critical study of various issues central to
music theory, the cognitive psychology of music, and the New
Musicology. The final pair of chapters applies some of my
conclusions in an analytic and interpretative study of a
small corpus of Beethoven's middle-period works.
KEYWORDS:
ontology, aesthetics, Platonism, Kant, Beethoven, Schenker,
Forte, tuning (just intonation), cognitive psychology,
post-modernism
TOC:
1. Ontology of the Musical Work
A Critique of Musical Platonism
Epistemological problems arising from Musical Platonism
An Extensional Definition of the Work-Concept
The Institutional Context of the Work-Concept
2. Aesthetics of the Musical Work
Music and Kant's Third Critique
Aesthetic Properties as Prima Facie Sources of Value
3. The Autonomy of the Musical Work
Organic Unity in Music Analysis
Tuning, Structure and Schenker's Ursatz
The Perception of Form and the Cognitive "Unconscious"
4. The Heteronomy of the Musical Work
Post-Modern Resistance to the Work-Concept
The Musical Work as Text
Works and Canonicity
5. Beethoven's Heroic Period: Unity of Works and Oeuvre
A formal feature of Beethoven's Heroic period: Mediant
relationships and middle-ground arpeggiation
Extremes: Mediants and enharmonic spirals
The String Quintet, Op.29: I - vi - IV
The Sonata for Piano and Violin, Op.96: I - bVI - bbIV(III)
The Piano Trio, Op.97: I - vi - IV - bII
6. The Works and World of Beethoven's Heldend�mmerung.
The politics of Beethoven's "Heroic" Period: From the
Joseph II Cantata to the Ninth Symphony
The 1805 version of Fidelio and the Austerlitz Campaign
The Fifth Piano Concerto and the Wagram Campaign
The 1814 version of Fidelio and the Congress of Vienna
CONTACT:
Apt.20 Quarry Court, Bridge Road, Helen's Bay, Co. Down,
Northern Ireland, U.K.
Voice: 44-1232-718488
E-mail: kollos@cavehill.dnet.co.uk
Web URL: http://www.music.qub.ac.uk/~walker
[1] Music Theory Online (MTO) as a whole is Copyright � 1996, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in MTO are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
This item appeared in Music Theory Online[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.
in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR].
It was authored by [FULL NAME, EMAIL ADDRESS],
with whose written permission it is reprinted here.