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  Partner: UNT Libraries
 Degree Discipline: Music Theory
 Collection: UNT Theses and Dissertations
Beethoven's Transcendence of the Additive Tendency in Opus 34, Opus 35, Werk ohne Opuszahl 80, and Opus 120

Beethoven's Transcendence of the Additive Tendency in Opus 34, Opus 35, Werk ohne Opuszahl 80, and Opus 120

Date: December 1989
Creator: Kramer, Ernest J. (Ernest Joachim)
Description: The internal unity of the themes in a sonata-allegro movement and the external unity of the movements in a sonata cycle are crucial elements of Beethoven's compositional aesthetic. Numerous theorists have explored these aspects in Beethoven's sonatas, symphonies, quartets, and concertos. Similar research into the independent variation sets for piano, excluding Opus 120, has been largely neglected as the result of three misconceptions: that the variation sets, many of which were based on popular melodies of Beethoven's time, are not as worthy of study as his other works; that the type of hidden internal relationships which pervade the sonata cycle are not relevant to the variation set since all variations are, by definition, related to the theme; and that variations were composed "additively," that is, one after another, without any particular regard for their order or relationship to one another. The purpose of this study is to refute all three of these incorrect assumptions. Beethoven was concerned with the order of variations and their relationship to one another, and he was able to transcend the additive tendency in a number of ways. Some of his methods included registral connection, registral expansion, rhythmic acceleration, textural expansion, dynamics, articulation, and motivic similarities. ...
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Algorithmic Music Analysis: a Case Study of a Prelude From David Cope’s “From Darkness, Light”

Algorithmic Music Analysis: a Case Study of a Prelude From David Cope’s “From Darkness, Light”

Date: May 2015
Creator: Krämer, Reiner
Description: The use of algorithms in compositional practice has been in use for centuries. With the advent of computers, formalized procedures have become an important part of computer music. David Cope is an American composer that has pioneered systems that make use of artificial intelligence programming techniques. In this dissertation one of David Cope’s compositions that was generated with one of his processes is examined in detail. A general timeline of algorithmic compositional practice is outlined from a historical perspective, and realized in the Common Lisp programming language as a musicological tool. David Cope’s compositional output is summarized with an explanation of what types of systems he has utilized in the analyses of other composers’ music, and the composition of his own music. Twentieth century analyses techniques are formalized within Common Lisp as algorithmic analyses tools. The tools are then combined with techniques developed within other computational music analyses tools, and applied toward the analysis of Cope’s prelude. A traditional music theory analysis of the composition is provided, and outcomes of computational analyses augment the traditional analysis. The outcome of the computational analyses, or algorithmic analyses, is represented in statistical data, and corresponding probabilities. From the resulting data sets part of ...
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X, An Analytical Approach to John Chowning's Phoné

X, An Analytical Approach to John Chowning's Phoné

Date: May 2010
Creator: Krämer, Reiner
Description: The analysis of computer music presents new challenges to the field of music theory. This study examines the fixed media composition Phoné by John Chowning from its aesthetic perspective, compositional theory and computer sound synthesis techniques. Fast Fourier Transform analyses are used to create spectrograms. The findings from the spectrograms are juxtaposed with compositional philosophies of John Chowning, Jean-Claude Risset, Pierre Schaeffer and Arnold Schoenberg and the techniques are represented via PureData patches.
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Tonal Perspectives in the Selected Piano Preludes of Shostakovich (Op.34: nos.1, 3, 6, 14, and 24): an Analytical Study

Tonal Perspectives in the Selected Piano Preludes of Shostakovich (Op.34: nos.1, 3, 6, 14, and 24): an Analytical Study

Date: August 1994
Creator: Lee, Tze Fung Alfred
Description: This study is an investigation of tonal structures in selected preludes of Shostakovich's Op.34. Explanations and analytic perspectives provide support of tonality oriented interpretation for the compositions which often appear to be "atonal." Chapter One is divided into (1) historical perspectives of the prelude as form, and (2) Summary of Shostakovich's life and work. Chapter Two contains a historical background of (1) the development of Shostakovich's compositional styles, emphasizing his early style of piano composition, and (2) the impact of his "Lady Macbeth," the crisis and its influence on later works. Chapter Three deals with the problems of and analytical approaches in the study of the selected preludes.
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Ran, Shulamit: Concerto da Camera II, Analysis of Pitch and Formal Structure

Ran, Shulamit: Concerto da Camera II, Analysis of Pitch and Formal Structure

Date: May 2000
Creator: Lin, Sheng
Description: The thesis speculates upon the three movements of Concerto da Camera II (1987), scored for Bb clarinet, string quartet and piano) in these four aspects: 1) the formal structure, 2) the manipulation of the notes of whole-tone, octatonic, and chromatic scales in octave displacement, 3) the potential combination of subsets that present different levels of pitch transformation in melodic and harmonic structure, and 4) the usage of intervals of minor seconds, tritones, and perfect fourths or fifths which dominates the linear writing. All of these features demonstrate that the music has strong structural elements in form, motives, and sonorities, which unify the piece in an aurally coherent style as an organic whole. This study should provide more insight into the understanding of Ran's unique compositional technique and style.
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Reevaluating twelve-tone music: analytical issues in the second movement of Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22.

Reevaluating twelve-tone music: analytical issues in the second movement of Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22.

Date: August 2006
Creator: Lin, Tzu-Hsi
Description: Twelve-tone music illustrates many characteristics relative with those of conventional tonal form, though works are based on a different composition method. The fundamental question of twelve-tone music arises in debate on terminology between tonal and atonal as well as methodology of musical analysis. Certain theorists try to approach twelve-tone music by traditional harmonic views rather than by pitch-class set theory. Conventional harmonic aspects arise from the fact that both tonal and twelve-tone music share similar narrative strategies. This point is explored in examining Anton Webern's Quartet for Violin, Clarinet, Tenor-Saxophone and Piano, Op. 22, which displays connection to tonal music. The present study seeks to examine certain features of the composer's working in pitch materials; i.e., the dispositions of pitch classes and the characteristics of the matching dyads, and thereby to disclose the connection between twelve-tone methods and conventional harmony.
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Non-Linear and Multi-Linear Time in Beethoven's Opus 127: An Analytical Study of the "Krakow" Sketch Materials

Non-Linear and Multi-Linear Time in Beethoven's Opus 127: An Analytical Study of the "Krakow" Sketch Materials

Date: August 2010
Creator: Lively, Michael
Description: Beethoven's complex manipulation of formal structures, especially his tendency to build important connections and transformative continuities between non-adjacent sections of musical works, may be seen to function as an attempt to control and sometimes to distort the listener's perception of both the narrative process of musical directionality, as well as the subjective interpretation of time itself. Temporal distortion often lies at the heart of Beethoven's complex contrapuntal language, demonstrated equally through the composer's often enigmatic disruption of phrase-periodic gestures, as well as by occasional instances of overtly incongruous temporal shifts. The "Krakow" collection of compositional sketches for Beethoven's String Quartet in E-Flat, Op. 127, provides a number of instances of "non-linear" or "multi-linear" musical continuity. The term "Krakow" sketches, when referenced in this dissertation, specifically designates the group of Beethoven manuscripts possessed by the Biblioteka Jagiellońska in Krakow, Poland, but which formerly were held by the Royal Library in Berlin. Structural voice-leading analyses are provided for selected portions of the "Krakow" collection; these analyses are then compared to voice-leading graphs and analytical reductions of the corresponding material from Beethoven's published versions of the same musical passages. In some cases the sketches supply almost complete texts, for which critical transcriptions are ...
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The Musical Language of Alberto Ginastera’s Panambí and the Influence of Claude Debussy’s La Mer and Igor Stravinsky’s Le Sacre Du Printemps

The Musical Language of Alberto Ginastera’s Panambí and the Influence of Claude Debussy’s La Mer and Igor Stravinsky’s Le Sacre Du Printemps

Date: December 2015
Creator: Lovern, Kenneth R.
Description: Alberto Ginastera completed his ballet Panambí in 1937. The ballet was arranged as a symphonic suite, and was performed the same year at the Teatro Colon in Buenos Aires, conducted by Juan José Castro. Panambí marked the beginning of Alberto Ginastera’s long and successful career as an Argentine composer. Chapter I of this document provides a brief introduction into the history behind Alberto Ginastera’s Panambí suite, and includes a review of the research that is exclusively devoted to the suite, as well as documents that do not provide direct analyses of Panambí, but contain information that aid in a better understanding of the suite’s composition. Chapter II includes analyses of the suite that illustrate important elements that contribute to the structure and sound of the Panambí suite. These components include Ginastera’s construction of the La Noche theme found in the first movement and its use as a master set, his use of diatonic collections and pitch centricity, the importance of unordered pitch class intervals IC1 and IC6, his use of aggregate completion as a compositional method, and his use of local motives over larger spans of temporal space. Chapter III explores the possibility that many of these compositional methods are ...
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The Key to Unlocking the Secret Window

The Key to Unlocking the Secret Window

Access: Use of this item is restricted to the UNT Community.
Date: December 2010
Creator: McConnell, Sarah E.
Description: David Koepp's Secret Window was released by Columbia Pictures in 2004. The film's score was written by Philip Glass and Geoff Zanelli. This thesis analyzes transcriptions from six scenes within the film in conjunction with movie stills from those scenes in an attempt to explain how the film score functions.
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Harmony in the Songs of Hugo Wolf

Harmony in the Songs of Hugo Wolf

Date: August 1989
Creator: McKinney, Timothy R. (Timothy Richmond)
Description: The songs of Hugo Wolf represent the culmination of the Romantic German Lied tradition. Wolf developed a personal chromatic harmonic style that allowed him to respond to every nuance of a poetic text, thereby stretching tonality to its limits. He was convinced, however, that despite its novel nature his music could be explained through the traditional theory of harmony. This study determines the degree to which Wolf's belief is true, and begins with an evaluation of the current state of research into Wolf's harmonic practice. An explanation of my analytical method and its underlying philosophy follows; historical perspective is provided by tracing the development of three major elements of traditional theory from their inception to the present day: fundamental bass, fundamental chords, and tonal function. The analytical method is then applied to the works of Wolf's predecessors in order to allow comparison with Wolf. In the investigation of Wolf's harmonic practice the individual elements of traditional functional tonality are examined, focusing on Wolf's use of traditional harmonic functions in both traditional and innovative ways. This is followed by an investigation of the manner in which Wolf assembles these traditional elements into larger harmonic units. Tonal instability, rapid key shifts, progressive ...
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An Analysis of Robert Nathaniel Dett's In the Bottoms

An Analysis of Robert Nathaniel Dett's In the Bottoms

Date: December 1983
Creator: Miles, Debra A. (Debra Ann)
Description: The purpose of the thesis is to analyze formally, harmonically and melodically the five movements of the suite both as separate movements and inclusively as one cohesive unit. The thesis will be written in three parts: Part One will include a biographical sketch of the composer, a general discussion of his music, background information on the suite and Dett's antecedents and contemporaries influencing him. Part Two will discuss the following: A) Form, B) Harmonic Analysis, and C) Melodic Analysis and the influences of black folk idioms. Part Three will include the keyboard music of Dett's contemporaries as compared to his suite in terms of their contrasts and similarities.
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Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio

Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio

Date: May 2006
Creator: Moore, Michael J.
Description: Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio
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Deconstructing Webern's Op 25, Drei Lieder: a Multidimensional Assessment

Deconstructing Webern's Op 25, Drei Lieder: a Multidimensional Assessment

Date: August 2013
Creator: Morgeson, Paul Taylor
Description: Webern scholarship has not comprehensively examined op. 25, drei lieder. If the selection of text for op. 25 is viewed as one work in three movements they create a ternary form (A-B-A1). To show how this form is developed in the music the author creates a new analytical system based on Schoenberg's Grundgestalt which is defined by three basic ideas: symmetry, liquidation, and variation. The relationship between the voice and accompaniment and Webern's deliberate manipulation of the text is used to reveal the use of a program which is then tied to the numerical symbolism of 2 and 3.
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Transposition and the Transposed Modes in Late-Baroque France

Transposition and the Transposed Modes in Late-Baroque France

Date: December 1988
Creator: Parker, Mark M. (Mark Mason)
Description: The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, ...
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Sibelius's Seventh Symphony: Genesis, Design, Structure, and Meaning

Sibelius's Seventh Symphony: Genesis, Design, Structure, and Meaning

Date: May 2004
Creator: Pavlak, F. William
Description: This study explores Sibelius's last and, perhaps, most enigmatic Symphony from historical (source-critical), Schenkerian, and transtextual perspectives. Through a detailed study of its genesis, musical architecture, and meaning, the author maintains that the Seventh, its composer, and its generative process, can best be understood as a series of verges: conceptual points of interaction between two or more forces. Verges between Sibelius's nature mysticism and the dramatic biographical circumstances of the period (1914-1924), between inspired and reasoned modes of composition, between genres (symphony and fantasy), between various form types, between tragic despair and hopeful yearning, between innovation and classicism, and between a host of other seeming oppositions, all define the Seventh Symphony and illuminate various facets of the composer's life and thought.
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Syntactic Structures in Functional Tonality

Syntactic Structures in Functional Tonality

Date: August 1985
Creator: Phelps, James, 1954-
Description: Chapter I examines linguistic structures fundamental to most tasks of comprehension performed by humans. Chapter II proposes musical elements to be linguistic structures functioning within a musical symbol system (syntax). In this chapter, functional tonality is explored for systemic elements and relationships among these elements that facilitate tonal understanding. It is postulated that the listener's comprehension of these tonal elements is dependent on cognitive tasks performed by virtue of linguistic competence. Chapter III examines human information processing systems that are applicable both generally to human cognition and specifically to tonal comprehension. A pedagogy for listening skills that facilitate tonal comprehension is proposed in the fourth and final chapter and is based on information presented in preceding chapters.
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Bach's Mass in B minor: An Analytical Study of Parody Movements and their Function in the Large-Scale Architectural Design of the Mass

Bach's Mass in B minor: An Analytical Study of Parody Movements and their Function in the Large-Scale Architectural Design of the Mass

Date: December 2005
Creator: Pérez Torres, René
Description: Most studies of the Mass in B Minor deal with the history of the work, its reception history, primary sources, performance practice issues, rhetoric, and even theological and numerical symbolism. However, little research focuses on an in-depth analysis of the music itself. Of the few analytical studies undertaken, to date only a limited number attempt to explain Bach's use of parody technique or unity in the whole composition. This thesis focuses on understanding three primary concerns in regards to the Mass in B minor: to comprehend how preexistent material was adapted to the context of the Mass, how this material functions in the network of the entire composition, and how unity is achieved by means of large-scale voice leading. The results of this study not only provide new information about this monument of Western music, but also provide insight to the deep sense of large-scale structure in Bach's work.
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Gualterio Armando's 34 Canciones Hispanoamericanas Para Canto Y Piano: a Comprehensive Edition and an Analytical Study of the Work’s Thematic Unity, Chromaticism, and Use of Musical Quotations

Gualterio Armando's 34 Canciones Hispanoamericanas Para Canto Y Piano: a Comprehensive Edition and an Analytical Study of the Work’s Thematic Unity, Chromaticism, and Use of Musical Quotations

Date: May 2014
Creator: Pérez Torres, René
Description: During the 1930s, German-born music critic and composer Gualterio Armando (1887-1973), formerly known as Walter Dahms, set to music thirty-four poems by some of the most important Hispano-American poets from the latter part of the nineteenth and first half of the twentieth century. In these songs, Armando tries to capture the spirit and idiosyncrasy of Hispano-American cultures while incorporating his own musical aesthetics. Armando’s 34 Canciones Hispanoamericanas para Canto y Piano (34 Hispano-American songs for voice and piano) display an original sound and style full of rhythms, shapes, colors, and textures found in the music of various Hispanic cultures. Nevertheless, the essence of these songs is deeply rooted in nineteenth-century German musical traditions. This eclecticism results in unique works that developed and evolved as reflections of their creator’s musical psyche. This dissertation presents an analytical study of selected songs from the 34 Canciones. The study focuses on three compositional aspects: unity within song cycles, chromaticism, and the use of pre-existing musical material. Since only one of the 34 Canciones has ever been published, this document also includes a complete edition of the thirty-four songs. Additionally, a significant part of the research incorporates a biographical sketch of the composer.
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Tonality and the Extended Common Practice in the Music of Thad Jones

Tonality and the Extended Common Practice in the Music of Thad Jones

Date: May 2015
Creator: Rogers, Michael A
Description: Tonality is a term often used to describe the music of the common practice period (roughly 1600-1900). This study examines the music of mid twentieth-century jazz composer Thad Jones in light of an extended common practice, explicating ways in which this music might be best understood as tonal. Drawing from analyses of three of Jones’s big band compositions: To You, Three and One, and Cherry Juice, this study examines three primary elements in detail. First is Jones’s use of chord-scale application techniques in the orchestration over various chordal qualities represented by the symbols, revealing traditional as well as innovative methods by Jones. Second is Jones’s use of harmonic progressions, demonstrating his connection to past practice as well as modern jazz variations. Third is Jones’s use of contrapuntal connections and their traditional relationship to functional tonality, but in a chromatic scale-based environment. Jones’s music is presented in this study to demonstrate a tonal jazz common practice that represents an amalgamation of traditions including twentieth-century scale-based procedures, Renaissance and early twentieth-century modality, eighteenth- and nineteenth-century voice leading schemas, and Baroque and Classical descending-fifth progressions. Also included as an appendix is a list of possible note errors in the published scores of To ...
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Toward a Descriptive Eidetics of Atonality: a Phenomenological Analysis of Webern Op 3, No 1

Toward a Descriptive Eidetics of Atonality: a Phenomenological Analysis of Webern Op 3, No 1

Date: August 2012
Creator: Schnitzius, Michael P.
Description: David Lewin, in his 1986 article “Music Theory, Phenomenology, and Modes of Perception,” offers a promising methodological approach for the analysis of tonal music from a phenomenological perspective. Lewin’s phenomenological method has a propensity to render seemingly contradictory readings in such a way that their respective validities can be preserved by articulating them within differentiated contexts. Expanding upon Lewin’s phenomenological work with analyzing tonal music, I propose that a phenomenological investigation of an atonal song, Webern op. 3, no. 1, from within a variety of differentiated contexts can shed light upon what it means to perceive a piece of music as being “not in a key.” This thesis will open with an introduction to Lewin’s phenomenological work and the writings of Edmund Husserl and Izchak Miller that Lewin used as a point of departure. The analysis of Webern op. 3, no. 1, that follows will regard the voice and piano parts as differentiated musical contexts in order to investigate the interaction between these contexts as they generally undermine the perception of tonality in the song. Finally, the notion of a “musical context” as an organizing factor of musical perception will be expanded to include the different analytical approaches of Olli ...
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Hugo Wolf's Interpretation of Paul Heyse's Texts: An Examination of Selected Songs from the Italienisches Liederbuch

Hugo Wolf's Interpretation of Paul Heyse's Texts: An Examination of Selected Songs from the Italienisches Liederbuch

Date: December 2010
Creator: Shin, Dong Jin
Description: In a Romantic song cycle or songbook, songs tend to share many common ideas because they are used to set to the poems from one collection written or collected by one author. Many composers designed the same motivic or structural elements to a group of songs for unity, and sometimes they made chronological narratives for the series of poems. Music theorists have tried to find out a way of giving a sense of unity or narrative to the songs in a song cycle or songbook by analyzing its musical language and text setting. They have suggested plausible explanations for the relationships among the songs in a song cycle or songbook, and some theorists have traced the tonal movements and provided a visual explanation for them. Hugo Wolf's two volumes of the Italienisches Liederbuch (1890-91, 1896) were set to the forty-six poems from Paul Heyse's well-selected works. Wolf's way of selecting poems from Heyse's collection seems inconsistent, and his song ordering in the both volumes does not show evident rules. However, a closer study for relationships between the songs could widen our perspective to comprehend the whole songbook as a unified storyline. This study selected the first four songs from each ...
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Dissonance Treatment in Fuging Tunes by Daniel Read from The American Singing Book and The Columbian Harmonist

Dissonance Treatment in Fuging Tunes by Daniel Read from The American Singing Book and The Columbian Harmonist

Date: May 1987
Creator: Sims, Scott G.
Description: This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.
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An Application of Grundgestalt Theory in the Late Chromatic Music of Chopin: a Study of his Last Three Polonaises

An Application of Grundgestalt Theory in the Late Chromatic Music of Chopin: a Study of his Last Three Polonaises

Date: December 1994
Creator: Spicer, Mark Joseph
Description: The late chromatic music of Chopin is often difficult to analyze, particularly with a system of Roman numerals. The study examines Schoenberg's Grundgestalt concept as a strategy for explaining Chopin's chromatic musical style. Two short Chopin works, Nocturne in E-flat major. Op. 9, No. 2, and Etude in E major, Op. 10, No. 3, serve as models in which the analytic method is formulated. Root analysis, in the manner of eighteenth-century theorist Simon Sechter, is utilized to facilitate harmonic analysis of chromatic passages. Based upon the analytic method developed, the study analyzes the last three polonaises of Chopin: Polonaise in F-sharp minor, Op. 44, Polonaise in A-flat major, Op. 53, and Polonaise-Fantasie in A-flat major, Op. 61. The Grundgestalt-based analysis shows harmonic, melodic and rhythmic connections in order to view Chopin's chromaticism and formal structure from a new perspective. With this approach, the chromaticism is viewed as essential to the larger form.
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Formal Organization in Ground-bass Compositions

Formal Organization in Ground-bass Compositions

Date: August 2015
Creator: Stevens, Bryan
Description: This thesis examines formal organization in ground-bass works. While it is true that many or even most works of the ground-bass repertoire are variation sets over a ground, there also exist many ground-bass works that are not in variation form. The primary goal of this thesis is to elucidate the various ways in which such non-variation formal organizations may be achieved. The first chapter of this work discusses the general properties of ground basses and various ways that individual phrases may be placed in relation to the statements of the ground. The second chapter considers phrases groupings, phrase rhythm, and the larger formal organizations that result. The third chapter concludes this study with complete analyses of Purcell’s “When I am laid in earth” from Dido and Aeneas and Delanade’s “Jerusalem, convertere ad dominum Deum tuum” from his setting of the Leçons de ténèbres.
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