MTO Dissertation Listings

Volume 2.6 1996

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Guigue, Didier. "Une �tude "pour les Sonorit�s Oppos�es": Pour une analyse "orient�e objets" de l'oeuvre pour piano de Debussy et de la musique du 20� si�cle." Ecole des Hautes Etudes en Sciences Sociales, Paris, 1996.

AUTHOR: Guigue, Didier
TITLE: Une �tude "pour les Sonorit�s Oppos�es" - 
   Pour une analyse "orient�e objets" de l'oeuvre pour piano de Debussy et de la 
   musique du 20� si�cle.
INSTITUTION: Ecole des Hautes Etudes en Sciences Sociales, Paris
BEGUN: October, 1991
COMPLETED: April, 1996
ABSTRACT:
Most of analytic tools developed during this century are 
exclusively devoted to the basic low-level components of music
writing : pitches (or pitch classes). It is however an evidence that, at least 
since Debussy, 
forming and linking complex abstract sound-objects are, too,
decisive composing features. 

This work exposes the basis of a computer-aided method of 
information and evaluation of the components of the musical 
score which may bring out all the necessary data for a neutral
-level analysis of the formal functions of these objects. Our
experimental analyses of some piano works of Debussy, show 
how such an object-oriented approach could be included in a 
more general analytic method.

KEYWORDS:
Sonic Object; Piano composing in 20th Century; Debussy;
Functional analytic method; Computer-aided Music Analysis.

TOC:
Introduction	8

Premi�re Partie � La composition orient�e objets	17
Chapitre 1 � L'objet sonore: une abstraction pour la composition, un d�fi pour 
             l'analyse	18
Chapitre 2 � Une lecture orient�e objets: propositions m�thodologiques	50
Chapitre 3 � Composition et Analyse dans un environnement informatique: 
             int�gration et interd�pendance	85

Deuxi�me Partie � Une m�thode d'�valuation des qualit�s sonores	96

Chapitre 1 � La sonorit� au piano et son contr�le	97
Chapitre 2 � Une mod�lisation des variables sonores du piano	138
Chapitre 3 � Les objets sonores: un r�seau de composants et compos�s	184
Chapitre 4 � Les composants des caract�ristiques achroniques	207
Chapitre 5 � Les composants des caract�ristiques diachroniques; �valuations de 
             synth�se	243

Troisi�me Partie � �l�ments pour une analyse immanente de la sonorit� dans l'oeuvre 
                   pour piano de Debussy	260

Chapitre 1 � Dimensions de l'expression d'une forme arch�typique chez Debussy: La 
             Cath�drale Engloutie	263
Chapitre 2 � L'�tude pour les Sonorit�s Oppos�es: quelles sonorit�s, quelles 
             oppositions?	321
Chapitre 3 � La Terrasse des audiences au clair de lune: une quantification des 
             corr�lations fonctionnelles entre le geste instrumental, la sonorit� 
             et la forme	369
Chapitre 4 � Techniques de prolongations et transformations de sonorit�s dans 
             Brouillards	397

Conclusion � Vers une analyse fonctionnelle de la sonorit�	456

Appendices, bibliographie, r�f�rences, index, tables	466

CONTACT:
Didier Guigue
Rua Ant�nio P. Rocha, 90
58045-380 Joao Pessoa - Pb - BRAZIL
Fone/Fax: + 55 83 247 14 73
email: dguigue@openline.com.br

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Hussey, William Gregory. "Compositional Modeling and Quotation in the Works of Johannes Brahms: An Application of Harold Bloom's Theory of Influence to Music." University of Texas at Austin, 1996.

AUTHOR:  Hussey, William Gregory
TITLE:  "Compositional Modeling and Quotation in the Works of
   Johannes Brahms:  An Application of Harold Bloom's Theory of
   Influence to Music"
INSTITUTION:  The University of Texas at Austin
BEGUN:  September, 1995
COMPLETION:  December, 1996

ABSTRACT:  The extent and manner in which composers are
influenced by one another continues to be a concern of music
theorists and musicologists.  Some analysts such as Kevin Korsyn
and Joseph Straus have appropriated Harold Bloom's literary
theory of influence for music in an attempt to address these
concerns.  Although Bloom's theory of influence has been applied
in many other fields besides literature, it has been criticized
for describing artistic originality as a result of Freudian
psychological processes in later artists as well as for the
sexist language in which Bloom expresses his theory.  This
dissertation will attempt to do the following in analyses of
works by Johannes Brahms:  1) explore the advantages of Bloom's
theory for comparative music analysis between different works
without Freudian psychological implications; 2) apply the theory
to the finale Brahms's Piano Concerto No.  1 in D minor, Op.  15
as a work structurally modeled upon Beethoven's Piano Concerto
No.  3 in C minor, Op.  37; 3) apply the theory to musical
quotations from works of other composers as well as by Brahms
himself in later works by Brahms; 4) analyze the influence of
several works on the finale of Brahms's Piano Concerto No.  2,
Op.  83.

KEYWORDS:  Brahms, Influence, Bloom, Quotation, Piano Concertos,
  Songs, Solo Piano Works

TOC:  Chapter 1:  Introduction to Bloom's Theory Chapter 2:
  Compositional Modeling in Brahms's Piano Concerto No.  1 in D
  minor, Op.  15 Chapter 3:  Quotation and Influence Chapter 4:
  Multiple Influence Analysis on Brahms's Piano Concerto No.  2 in
  B-flat, Op.  83.

CONTACT:  3201-A Maywood Ave., Austin, TX  78703
   (512) 302-3861
   Email:  WGHus@aol.com

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Lowe, Bethany L.. "Performance as Reception: The Symphonies of Sibelius in Britain 1930-1965." University of Southampton, 1998 (projected).

AUTHOR: Lowe, Bethany L.
TITLE:  "Performance as Reception: The Symphonies of 
   Sibelius in Britain 1930-1965"
INSTITUTION:  University of Southampton Music Department, 
   Highfield, Southampton SO17 1BJ, England 
BEGUN:  October 1995 
COMPLETION:  August 1998
ABSTRACT:  Following the recent work of Laura Gray of Yale 
University in examining the reception history of Sibelius in 
the early part of this century, my research focusses on the 
recorded performances of the Sibelius symphonies released in 
Britain in this period, in an effort to discover how these 
inflect, and are determined by, contemporary images of 
Sibelius.  Whilst using empirical methods to examine tempo 
structure in versions of the first movement of the Fifth 
Symphony I shall consider how the results obtained relate to 
analytical writings of the same period; and by examining 
these recorded sources as sites of reception in a 
multivalent network consisting also of critical, analytical 
and historical materials I shall aim to draw out these 
empirical methodologies into the spheres of critical 
musicology and theory/analysis.  

KEYWORDS:  Sibelius, performance, recording, reception, 
Britain, tempo, analysis
TOC:  still in planning
CONTACT:  email: bll@soton.ac.uk [no home phone]

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McDonnell, Donald R.. "Roger Sessions' Symphony No. 3, First Movement: Form, Hexachordal Polarity, and Harmonic Language (and) Nexus/Dreamscape for Chamber Ensemble. (Original Composition)," Brandeis University, 1994.

AUTHOR:  McDonnell, Donald R.
TITLE:  Roger Sessions' Symphony No. 3, First Movement: Form, Hexachordal
   Polarity, and Harmonic Language (and) Nexus/Dreamscape for Chamber Ensemble.
   (Original Composition)
INSTITUTION:  Brandeis University, Department of Music, Waltham, MA
   02254-9110
BEGUN:  September, 1991
COMPLETION:  February, 1994

ABSTRACT: The first movement of Roger Sessions' Symphony No. 3 is
music deeply ramified in the tradition of Symphonic first movements,
but speaks to us in a modern harmonic language. This dissertation
explores the sonata form of the movement in relation to like forms in
tonal music, and draws parallels between the polarity of tonic and
dominant with Sessions' treatment of complementary
hexachords. Abstract complementary relations between Z-related
hexachords at the beginning of the movement create large-scale
dissonance, analogous to modulation to the dominant in tonal
sonatas. The unity of key in the recapitulation of some tonal sonatas
is parallelled by large-scale aggregate-forming relations in the
recapitulation of the Third Symphony's first movement. The harmonic
language of the movement is rich and diverse, but two primary
hexachords provide motivation for large-scale formal procedures and
relationships, and are also the source of much of the movements local
pitch structure.

The first chapter explores the genesis of the Third Symphony,
references in the theoretical literature, and gives perspectives on
analysis, and the historical context of the work. The second chapter
defines theoretical premises to be used in the analysis of the
movement. Chapters three and four are the heart of the paper,
exploring the form of the movement and hexachordal polarity, and the
harmonic language of the movement, respectively. The final chapter
draws conclusions, summarizes the important points of focus earlier in
the paper, and explores some implications for further research.

KEYWORDS:  Roger Sessions, sonata form, 12-tone, sets, hexachord, symphony,
partition graphs

TOC:  I. Introduction          
1.1  Sessions on the Genesis of his Third Symphony
1.2  References in the Theoretical Literature  
1.3  Perspectives on Analysis 
1.4  Historical Context 

II. Theoretical Preliminaries

III. Form and Hexachordal Polarity
3.1  Aspects of Sonata Form: Tonal Procedures/Twentieth-Century Procedures
3.1.1  Sessions' Concept of Sonata Form
3.1.2  Style Traits of Sonata Form
3.2  Tonal Polarity/Hexachordal Polarity
3.3  Thematic Articulations of Large-Scale Structure
3.4  Conclusions: the Form of the Movement
3.4.1  Sessions on the First Movement of His Third Symphony

IV. Aspects of Harmonic Language and Pitch Structure
4.1  Aggregate Formations
4.1.1  Overview-Prominent Row Appearances
4.1.2  Other Instances of the Row in the First Movement
4.1.3  Summary-The Use of the Row
4.1.4  Other Aggregate Formations
4.1.5  Summary of Aggregate Formations
4.2  Atonal Contexts for the Primary Hexachords and Their Pentachordal
     Subsets  
4.2.1  Hexachord X and its Pentachordal Subsets
4.2.2  Hexachord Y and its Pentachordal Subsets
4.2.3  Summary-Atonal Contexts for the Primary Hexachords
4.3  Subsets of the Two Primary Hexachords
4.3.1  [0146] (4-Z15)
4.3.2 [0137] (4-Z29)
4.3.3 [0124] (4-2)
4.3.4 [027] (3-9) 
4.3.5  Summary-Subsets of the Two Primary Hexachords
4.4  Secondary Hexachords: Their Use and Syntactic Function
4.4.1  The Chromatic Hexachord
4.4.2 Hexachord H
4.4.3  Summary-The Function of Secondary Hexachords 

V.  Conclusion

Appendix A: Set Class Frequency
Appendix B: Subset Content of the Two Primary Hexachords
Appendix C: Hexachordal Partition Graphs
Select Bibliography

CONTACT: Donald McDonnell
Faculty Box 121
Berklee College
1140 Boylston Street
Boston, MA 02215
e-mail: dmcdonnell@berklee.edu

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Raickovich, Milos. "Einstein on the Beach by Philip Glass: A Musical Analysis. City University of New York, 1994.

AUTHOR: Raickovich, Milos
TITLE: "Einstein on the Beach" by Philip Glass: A Musical Analysis
INSTITUTION: City University of New York
BEGUN: May 1991
COMPLETED: May 1994
ABSTRACT:
This analysis deals with the pitch content of the opera "Einstein on the Beach" by 
Philip Glass.  Chapter 1 provides an introduction to Minimal Music.  Compositional 
techniques from the 1960s and 70s by composers La Monte Young, Terry Riley, Steve 
Reich and Philip Glass are discussed.  Chapter 2 describes "Einstein on the Beach" 
on the macro-form level.  Dramatic and visual aspects are compared with the 
musical themes of the opera.  In Chapter 3, the thematic unity of the entire work 
is defined by the melodic contours of the "Core Motive," present in virtually all 
sections of the opera.  Chapter 4 deals with the ambiguities of Glass's harmonic 
language.  The use of the pentatonic modes within the functional-harmonic context 
and non-chordal sonorities are discussed.  Chapter 5 presents some conclusions 
about the original aspects of the pitch content of "Einstein on the Beach."

KEYWORDS:
philip, glass, einstein, beach, minimalism, steve, reich, terry, riley, young

TOC:
Chapter 1 - Introduction
Chapter 2 - Description of "Einstein" and Its Musical Themes
Chapter 3 - Thematic Unity: The Core Motive
Chapter 4 - The Harmonic Language
Chapter 5 - Conclusion

CONTACT:
http://www.page-me-now.com/milos_raickovich.html
raickovich@aol.com

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Robison, Brian. "Carmen Arcadiae Mechanicae Perpetuum: Toward a Methodology for Analyzing Harrison Birtwistle's Music Since 1977," (working title) Cornell University, 1997.

AUTHOR:  Robison, Brian
TITLE:  [working title] Carmen Arcadiae Mechanicae Perpetuum: Toward a
   Methodology for Analyzing Harrison Birtwistle's Music Since 1977
INSTITUTION:
        Field of Music
        Lincoln Hall
        Cornell University
        Ithaca, NY  14853
BEGUN:  November 1995
COMPLETION:  May 1997

ABSTRACT: Although Harrison Birtwistle is the pre-eminent British
composer of his generation, his works remain underrepresented in the
analytic literature.  As assorted writers have noted, his music
powerfully resists conventional analysis, and the composer himself
hasn't expounded at length on his methods.  Accordingly, commentators
on his music have generally lacked specific technical means to
substantiate many of their interpretative claims.
        The present study investigates Birtwistle's 1977 composition
Carmen Arcadiae Mechanicae Perpetuum (hereafter simply Carmen),
beginning with comparatively simple structures and proceeding through
increasingly complex ones.  Birtwistle's techniques of melody,
harmony, motive, and cyclic segments of pitch or rhythm all reveal a
highly methodical approach to the creation of varying degrees of
disorder.  In particular, attention to pitch sets (rather than
pitch-class sets) and contour segments of pitch and rhythm reveals a
much greater degree of compositional control than has been generally
assumed.  A concluding chapter demonstrates that the tendencies found
in Carmen are by no means unique to that work, but recur in many of
Birtwistle's major compositions since 1977.

KEYWORDS: Harrison Birtwistle, contour analysis, pitch set analysis,
contextual equivalence classes, "non-diatonic diatonicism",
generalized mode mixture, generalized isorhythm

TOC:  [working titles]
        Chapter 1: Introduction
        Chapter 2: An overview of Carmen
        Chapter 3: Birtwistle's monodies: Interrupted endless melodies
        Chapter 4: Compound monophony: Harmonic permutation through
                   approximate parallelism
        Chapter 5: From aleatoric mobiles to motivic permutation
        Chapter 6: Perpetual songs: Cycles of pitch and rhythm
        Chapter 7: Summary and synthesis
        Chapter 8: Birtwistle's music since 1977
        Glossary
        Appendix 1: Misprints and likely errors in the published score of
                    Carmen
        Appendix 2: Passages of compound monophony, with intervallic tables

CONTACT:  209 Kline Road
        Ithaca, NY  14850-2116
                Voice: (607) 277-2974
        Music Library
        225 Lincoln Hall
        Cornell University
        Ithaca, NY  14853-4101
                Voice: (607) 255-4011
                Fax: (607) 254-2877 (attn: B. Robison, Music)

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