Global ETD Search
Search theses and dissertations gathered from participating repositories worldwide. Every result links back to the library that holds it. No account is needed.
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Showing 1 to 20 of 27 for “"voice leading"”.
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Voice Leading in Fugue
<p>This dissertation examines voice leading in the fugues of J. S. Bach’s Well-Tempered Clavier from a Schenkerian perspective. In Bach’s fugues, thematic material usually permeates all the parts, making the surface diminutions unusually complex. Given the predominance of the subject, there is a …
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Smooth Voice-Leading Systems for Atonal Music
… to analyze atonal music from the view-point of voice-leading. I organize pitch-class sets having the same cardinality to demonstrate what is defined here as smooth voice-leading. I first deal with the historical study relating to voice-leading systems for atonal music, a heavily researched …
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Harmony, voice leading, and drama in three Sondheim musicals
This study presents an analytical approach to three works by American musical theater composer-lyricist Stephen Sondheim: Sunday in the Park with George, Into the Woods, and Assassins—each of which Sondheim developed largely at the Playwrights Horizons theater in New York. Using an eclectic, …
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Voice-Leading Patterns in the Fugal Expositions of J. S. Bach's "Well-Tempered Clavier"
… an underpinning of control and direction to voice leading. This dissertation demonstrates the structural role of imitation in tonal music by comparative analysis of a selected body of imitative music: the fugues of J. S. Bach's Well-Tempered Clavier.</p> <p>A consistent and close …
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Heinrich Schenker’s Early Approach to Form, 1895–1921: Implications for His Late Work and Its Reception
… as his organic theory of transformational voice leading emerged in the early 1920s. Schenker’s late approach to form is then briefly reconsidered from this newfound perspective.</p> <p>Chapter 1 defines the nineteenth-century <em>Formenlehre</em> tradition established by A. B. Marx and …
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Mahlerian Tonality: Challenges to Classical Foreground Structures in the Music of Gustav Mahler
… presents a detailed study of harmony and voice leading at local levels of structure in the music of Gustav Mahler. The results are grouped into three domains: cadences, common-tone techniques, and the Mahlerian imaginary continuo. An investigation of Mahler’s cadences reveals an underlying …
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Textural and Harmonic Density in Selected Choral Works (1992--2003) by Eric Whitacre
… with the author's explanation of Whitacre's voice-leading process, provide a clear understanding of Whitacre's compositional process. The author has concluded that in the works studied, Whitacre uses traditional melodies and triadic chord structures; he then creates harmonic and motion by …
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The Fundamental Unity in Brahm's Horn Trio, Op. 40
… based on the internal structure and structural voice-leading notes. The unity in the Horn Trio is the fundamental structural unity that is divided into initial ascent and voice exchange, and fundamental voice-leading motive. The fundamental unity seriously affects the master piece and penetrates …
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Symmetrical Features of Nikolai Medtner's Language: The Grzovaya Sonata, Opus 53 No. 2
… of Medtner's thumbprints, symmetrical contrary voice-leading, consists of two or more voices which systematically expand or contract in exact mirror fashion. The contrary movement is usually stepwise, and may be either chromatic or diatonic. Occasionally even larger intervals, such as thirds and …
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Functional Harmony and its Relationship to Schoenberg's Early Post-Tonal Music
… form in early post-tonal music. With a focus on voice-leading, this thesis suggests there are continuities with preceding harmonic practice that current analytical methods, such as set theory and transformation theory, while making other relevant observations, miss. The approach used is built on …
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Toward a Unified Whole: Allan Pettersson's Symphony No. 5.
… examines the structure of the symphony from a voice-leading perspective. Included in this study is an analysis of the construction of the piece focusing on the development and expansion of motives that operate as structural determinants and the use of chromatic saturation to create intensity …
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Thwarted Patterns in the Organ Music of Alan Hovhaness
… of half-diminished seventh chords, scales, and voice leading within his solo organ works, certain expected musical patterns found in other canonical Western works can be shown to be consistently thwarted. These thwarted expectations may provide insight into and appreciation of Alan Hovhaness’s …
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Distant cathedrals
… which connects the old with the new. The elegant voice-leading and careful regulation of dissonance in Palestrina’s panconsonant music is emblematic of late Renaissance polyphony. Given Palestrina’s position as one of Europe’s leading composers, late Renaissance counterpoint is often labeled …
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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
… 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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Dual-Interval Spaces: Interrelations Between Interval Classes 1 and 5, Local Pitch Centers and Form in Dmitri Shostakovich's Piano Sonata No. 1, Op. 12
… The DIS provides a tool that delineates both the voice-leading space of interval classes 1 and 5 and the relationship among different set classes that consist of them. This paper will build upon Brown’s discovery by demonstrating how intervallic properties from these short excerpts are composed …
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COMPREHENSIVE ANALYSIS OF MOVEMENT ONE OF JENNIFER HIGDON’S VIOLIN CONCERTO
… are at the heart of Higdon's compositional voice and are what make her works accessible, yet engaging. The thesis will then provide a formal analysis of the complete work, noting key elements of each movement and notable connections between the three movements. A formal analysis of the first …
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Musical Forces in the Serial Music of Igor Stravinsky
… but instead is intentional and gestural voice leading implying the motion of resolution. Inertia’s influence remains essentially the same; linear motion and motivic motion are present in both tonal and atonal music.</p> <p>Analysis of three brief serial Stravinsky compositions shows …
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A Performer’s Guide to Astor Piazzolla's <i>Tango-Études pour flûte seule</i>: An Analytical Approach
… implied descending lines; my reductions of this voice leading as it appears in the <em>Tango-Études</em> are exclusive to this dissertation. This dissertation is divided into five chapters and an appendix. Chapter one presents background information about Piazzolla and his serious works and a …
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Self-accompaniment and improvisation in solo jazz piano: Practice-led investigations of assimilation, ostinatos and ‘hand splitting’
… the pianist’s hands to achieve multiple voices, voice-leading, ostinato, and rhythmic focus were explored as methods to develop independent solo performance. The project follows two trajectories. The first was to develop self-accompaniment patterns for solo jazz piano, an area explored by …
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A New Place at the Table: Ancient Cadential Patterns for Modern Improvision and Aural Skills Training
… and demonstrate contrapuntal interplay and voice leading between bass and treble voices, basic syncopation and rhythmic division, and the concept of dissonance/consonance within linear parameters as an integral aspect of musical form. A series of beginner to intermediate exercises for use in …
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