You limited your search to:

  Partner: UNT Libraries
 Degree Discipline: Music Theory
 Collection: UNT Theses and Dissertations
Form in Popular Song, 1990-2009

Form in Popular Song, 1990-2009

Date: December 2015
Creator: Ensign, Jeffrey S.
Description: Through an examination of 402 songs that charted in the top 20 of the Billboard year-end charts between the years 1990 and 2009, this dissertation builds upon previous research in form of popular song by addressing the following questions: 1) How might formal sections be identified through melody, harmony, rhythm, instrumentation, and text? 2) How do these sections function and relate to one another and to the song as a whole? 3) How do these sections, and the resulting formal structures, relate to what has been described by previous theorists as normative? 4) What new norms and trends can be observed in popular song forms since 1990? Although many popular songs since 1990 do follow well-established forms, some songwriters and producers change and vary these forms. AAA strophic form, AABA form, Verse-Chorus form, Verse-Chorus with Prechorus and/or Postchorus sections, Verse-Chorus-Bridge form, “Other, with a Chorus” and “Other, without a Chorus” forms are addressed. An increasing number of the songs in each of the above listed forms are based on a repeating harmonic progression or no harmonic progression at all. In such songs, the traditional method of identifying sections and section-functions through harmonic analysis is less useful as an analytical tool, ...
Contributing Partner: UNT Libraries
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 ...
Contributing Partner: UNT Libraries
Václav Philomathes’ Musicorum Libri Quattuor (1512): Translation, Commentary, and Contextualization

Václav Philomathes’ Musicorum Libri Quattuor (1512): Translation, Commentary, and Contextualization

Date: December 2015
Creator: Iler, Devin
Description: The Czech-born music theorist, Václav Philomathes, wrote the Musicorum libri quattuor in 1512 while attending the University of Vienna. This didactic treatise became one of the most widely published theory treatise of its time with 26 copies of five editions remaining today and covers the topics of Gregorian chant practice, Solmization, Mensural Notation, Choir Practice and Conducting, and Four-voice Counterpoint. Of particular note, is the section on choir practice and conducting, of which there is no equivalent prior example extant today. This dissertation provides a Latin-English translation of Philomathes’s work, as well as produces a critical commentary and comparison of the five editions while positioning the editions within the context of the musico-theoretical background of early-to-mid-16th century scholarship in Central Europe.
Contributing Partner: UNT Libraries
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.
Contributing Partner: UNT Libraries
A Seventeenth-century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades Musicae

A Seventeenth-century Musiklehrbuch in Context: Heinrich Baryphonus and Heinrich Grimm’s Pleiades Musicae

Date: August 2015
Creator: Dobbs, Benjamin M.
Description: Heinrich Baryphonus (1581-1655) and Heinrich Grimm’s (1592/3-1637) didactic treatise, Pleiades musicae (1615/1630), provides a vivid testimony to the state of music education and music theory pedagogy in Protestant Germany in the early seventeenth century. Published initially by Baryphonus for use at the Gymnasium in Quedlinburg and reissued in an expanded format by Grimm for use at the Gymnasium in Magdeburg, the text examines the fundamentals of pitch, intervals, counterpoint, and, in the second edition, triadic theory and composition. Throughout the remainder of the seventeenth century and into the eighteenth century, music theorists including Johann Andreas Herbst (1588-1666), Otto Gibel (1612-1682), and Andreas Werckmeister (1645-1706), used the document as a source for their own musical writings, solidifying its status as a significant contribution to the field of music theory. Recently, scholars such as Carl Dahlhaus, Benito Rivera, and Joel Lester have found value in Pleiades musicae for its role in the early stages of the development of triadic theory and the emergence of harmonic tonality. However, with the exception of the passages on triadic theory, the treatise continues to be relatively unknown. In order to understand the full extent of Baryphonus and Grimm’s contributions to the history of music theory, and ...
Contributing Partner: UNT Libraries
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 ...
Contributing Partner: UNT Libraries
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 ...
Contributing Partner: UNT Libraries
Ligeti’s Early Experiments in Compositional Process: Simple Structures in Musica Ricercata

Ligeti’s Early Experiments in Compositional Process: Simple Structures in Musica Ricercata

Date: December 2014
Creator: Grantham, Daniel
Description: This study examines the formation of a unique chromatic and formal language in Musica Ricercata by György Ligeti. The study begins by examining statements from an interview with Ligeti conducted by Ove Nordwall in 1979. The interview discusses his compositional experiments from the early 1950s, the period in which Musica Ricercata was composed. Working from Ligeti’s words, “simple structures” are defined as repeating formations of rhythms and intervals with easily discernable features. These features must be salient such that when the structure is altered, it is still clearly and audibly recognizable. The musical and political environment in Hungary at the time is established, providing context for this early experimentation with compositional parameters. The analysis begins with an overview of the entire work, outlining developments of pitch-class density, symmetrical pitch-class structures, and notated accelerandi over the course of the multi-movement work. Analyses of simple structures in each movement elucidate both Ligeti’s experimental approaches to chromaticism, along with more traditional aspects, with special reference to Bartók’s compositional style.
Contributing Partner: UNT Libraries
Theorizing Atonality: Herbert Eimert’s and Jefim Golyscheff’s Contributions to Composing with Twelve Tones

Theorizing Atonality: Herbert Eimert’s and Jefim Golyscheff’s Contributions to Composing with Twelve Tones

Date: August 2014
Creator: Weaver, Jennifer L.
Description: In 1924, Herbert Eimert’s Atonale Musiklehre was the first published text to describe a systematic approach to composing atonal music. It contains significant contributions to the discourse on the early development of twelve-tone composition. While Eimert uses the term “atonal” to describe his compositional approach, his definition of atonality demands that all twelve tones be present with none repeated, and that they present as complexes not ordered rows. Eimert’s discussion of atonality differs from others of the same period because he focuses on vertical sonorities and introduces “interlocking complexes”, wherein two separate statements of the aggregate can overlap by one pitch or by a set of pitches. Interlocking complexes are an important feature of Eimert’s string quartet Fünf Stücke für Streichquartett, which was published in 1925 and composed at the same time as Atonale Musiklehre was written. In the foreword to Atonale Musiklehre, Eimert clarifies that he is not the originator of the concept of atonality, rather that he absorbed the ideas of Josef Matthias Hauer and Jefim Golyscheff. Twelve-tone complexes appear first in Golyscheff’s 1914 String Trio. He refers to them as “twelve-tone duration complexes” and labels them in the score. As the name “duration complexes” implies, there are ...
Contributing Partner: UNT Libraries
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.
Contributing Partner: UNT Libraries
FIRST PREV 1 2 3 4 5 NEXT LAST