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 Degree Discipline: Music Theory
 Collection: UNT Theses and Dissertations
“A Metaphor for the Impossibility of Togetherness”: Expansion Processes in Gubaidulina’s First String Quartet

“A Metaphor for the Impossibility of Togetherness”: Expansion Processes in Gubaidulina’s First String Quartet

Date: August 2012
Creator: Stroud, Cara
Description: This thesis illustrates how I hear processes of expansion organizing musical materials in the First String Quartet. By employing a flexible approach to expansion and developing models of wedge and additive expansions beyond the bounds of specific voice-leading or rhythmic augmentation procedures, expansion processes can be understood in each of the varied episodes of the quartet. Gubaidulina’s use of expansion processes, embodied organically in pitch, rhythm, form, and physical space, unifies the episodic materials of the First String Quartet and provides an inevitable conclusion to the work’s loose narrative.
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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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Die Neue Lehre: Developing an Online Course in Schenkerian Analysis

Die Neue Lehre: Developing an Online Course in Schenkerian Analysis

Access: Use of this item is restricted to the UNT Community.
Date: August 2001
Creator: Sadoff, Jennifer
Description: With the proliferation of Schenkerian theory in the US, Great Britain, and mainland Europe in the past quarter century, the pedagogy of Schenkerian analysis has become an important issue. Schenker himself was suspicious of textbooks with their tendency for artificial codification and over-simplification; rather, he recognized that his “New Teaching” (“Die neue Lehre”) – as he called it – required a different, more “organic” pedagogical approach that was both personal and yet accessible to a wide audience. New digital technologies and the Internet now have made it possible to disseminate Schenker’s pedagogical approach by adapting interactive techniques of Web-based instruction. Schenker’s “new teaching” was as organic as his theory itself – and as novel in the connections it sought to draw between the individualed disciplines of theory, musicology, composition, and performance. The interactive and multi-media components of Web-based instruction enable us to realize Schenker’s own pedagogical approach to Schenkerian analysis instruction.
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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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Op. 34: Evidence of Arnold Schoenberg's Musikalische Gedanke

Op. 34: Evidence of Arnold Schoenberg's Musikalische Gedanke

Date: May 2004
Creator: Fukuchi, Hidetoshi
Description: Composition for Arnold Schoenberg is a comprehensible presentation of a musical idea (musikalische Gedanke); the totality of a piece represents the idea. For tonal works, he defines Gedanke as a process of resolving the "tonal relation" or "tonal problem." Contrary to the numerous tonal examples illustrating the notion of Gedanke, Schoenberg hardly expounds on the Gedanke principle for his atonal and twelve-tone repertoires. This study reevaluates Schoenberg's compositional philosophy and aesthetics including Gedanke, comprehensibility, Grundgestalt, and developing variation in light of his compositional practices in Begleitungsmusik zu einer Lichtspielszene, Op. 34. Although Schoenberg denies the existence of a tonal problem and hierarchy among pitches in twelve-tone compositions, the registral placement found in Op. 34 indicates certain functionality assigned to each pitch-class, producing a sense of "departure and return." The approach here elucidates the "idea" of Op. 34, in which the large-scale formal organization unfolds through contextually emphasized tonal relations. This study also explores Schoenberg's concept of the multi-dimensional presentation of a musical idea. Even though Schoenberg's discussion of musical coherence is usually limited to the immediate musical surface, I believe that he was also aware of an extended realization of foreground motives in the sense of Heinrich Schenker's "concealed motivic ...
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The Opening Section of Isang Yun's My Land My People: A Cross-Section of Korean and Western Musical Features

The Opening Section of Isang Yun's My Land My People: A Cross-Section of Korean and Western Musical Features

Date: May 2006
Creator: Choi, Woohyuk
Description: Isang Yun's oratorio My Land My People is organized in four movements, and is scored for orchestra, solo voice and choir. Movements are titled as follows: Rjoksa (History), Hyon-Shil I (Presence I), Hyon-shil II (Presence II), and Mi-rae (Future). This document only covers from measures 1-38 of the first section of the first movement of this work. Even though this work is atonal, the composer emphasizes a harmonically moving, tonal sonority: interval class five includes perfect 4th and 5th, quintal-quartal harmony and authentic cadence moving dominant to tonic. Also, in this document, a comparison with Korean traditional music elements is included to support Isang Yun's musical features.
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A Phenomenology of Music Analysis

A Phenomenology of Music Analysis

Date: December 1995
Creator: Anderson, Andrew E. (Andrew Edwin)
Description: Many of the early writings and lectures of the German phenomenological philosopher Martin Heidegger involve investigations into the question of Being. An important part of these investigations is his examination of how we go about the everyday business of existing--doing our jobs, dealing with things in our environment, working through problems, thinking, talking--and what our ways of operating in these everyday activities tell us about our Being in general. Musicians have their own everyday musical tasks, two of the most prominent of which are composing and performing. Composers and performers, like everyone else, have a 'world'--Heidegger's word for the structure of relationships between equipment, persons, and tasks and the way in which a person is situated in that structure--and that 'world' allows them to cope with their musical environment in ways that enable them to make music as composers and performers. Analyzing music is an activity that a Heideggerian approach sees as derived from the primary musical activities of composing and performing. A music analyst trades the possibility of primary musical involvement for a kind of involvement that points out determinate characteristics; hence in adopting an analytical stance, the analyst trades doing something musical for saying something about music. In ...
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Prolongation in Post-Tonal Music: A Survey of Analytical Techniques and Theoretical Concepts with an Analysis of Alban Berg's Op. 2, No. 4, Warm Die Lüfte

Prolongation in Post-Tonal Music: A Survey of Analytical Techniques and Theoretical Concepts with an Analysis of Alban Berg's Op. 2, No. 4, Warm Die Lüfte

Date: December 2010
Creator: Huff, David
Description: Prolongation in post-tonal music is a topic that music theorists have engaged for several decades now. The problems of applying Schenkerian analytical techniques to post-tonal music are numerous and have invited several adaptations of the method. The bulk of the thesis offers a survey of prolongational analyses of post-tonal music. Analyses of theorists such as Felix Salzer, Allen Forte, Joseph Straus, Edward Laufer, and Olli Väisälä are examined in order to reveal their various underlying theoretical principles. The thesis concludes with an analysis of Alban Berg's Warm die Lüfte from his Op. 2 collection that focuses on the prolongation of a referential sonority that forms the background of the song. The analysis highlights the most significant analytical techniques and theoretical concepts explored in the survey and codifies them in a generally applicable method of post-tonal prolongational analysis.
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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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Redeeming the Betrayer: Elgar’s Portrayal of Judas in the Apostles

Redeeming the Betrayer: Elgar’s Portrayal of Judas in the Apostles

Date: December 2013
Creator: Taycher, Ryan
Description: Despite its generally agreed importance, very little has been written about The Apostles. Even among the extant publications that address The Apostles, scholars have focused on its history and development, its reception, or analytical descriptions of its surface themes. The aim of this study will therefore be to provide neither a biography of Elgar, nor an account of the genesis of the work, but to analyze The Apostles in a manner that will achieve a deeper understanding of the oratorio. Chapter 1 explores the complexities that surround Judas and the different ways in which he was perceived throughout history. Then, through my analysis of the surface motives in Chapter 2 and their significance in relation to the large-scale harmonic structure in Chapter 3, I will suggest that Elgar does not denigrate Judas as the betrayer of Christ in The Apostles, but rather depicts him as a tragic yet crucial figure in achieving the redemption of mankind, and through this Judas himself is redeemed.
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