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
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
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]
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
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
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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