This paper presents and demonstrates a linear approach to works from John Adams’ most recent compositional period (1991–). Existing research into this period primarily focuses on specific surface-level events, with little examination of deeper large-scale structures within the works. Chapter 1 reviews the existing research, as well as relevant research into minimalist music and post-tonal analysis, and some existing approaches are then incorporated into the methodology presented in Chapter 2. The methodology is presented in three stages: identifying formal structure, identifying linear structures through salient pitches, and determining harmonic support for those salient pitches. The methodology is demonstrated in greater detail in Chapter 3 through an analysis of Adams’ 1996 chamber work, Hallelujah Junction. The linear analysis ofHallelujah Junction reveals an overarching harmonic progression within the work, and provides insight into the manner in which Adams establishes and resolves harmonic expectations, even through his characteristic gradual processes.
","abstract_html":"<p>This paper presents and demonstrates a linear approach to works from John Adams’ most recent compositional period (1991–). Existing research into this period primarily focuses on specific surface-level events, with little examination of deeper large-scale structures within the works. Chapter 1 reviews the existing research, as well as relevant research into minimalist music and post-tonal analysis, and some existing approaches are then incorporated into the methodology presented in Chapter 2. The methodology is presented in three stages: identifying formal structure, identifying linear structures through salient pitches, and determining harmonic support for those salient pitches. The methodology is demonstrated in greater detail in Chapter 3 through an analysis of Adams’ 1996 chamber work, Hallelujah Junction. The linear analysis ofHallelujah Junction reveals an overarching harmonic progression within the work, and provides insight into the manner in which Adams establishes and resolves harmonic expectations, even through his characteristic gradual processes.</p>","abstract_has_math":false,"creators":["Maynard, Olivia"],"institution":null,"degree_name":"Master of Music (MM)","degree_level":"Masters Thesis","degree_discipline":null,"degree_department":null,"school":null,"contributors":["Douglas Rust","Danny Beard","Joseph Brumbeloe"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-05-01T07:00:00Z","date_published":"2019-05-01T07:00:00Z","updated_at":"2026-07-24T05:45:12Z","subjects":["John Adams","minimalism","Hallelujah Junction","analysis","linear","structure","Music Theory"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://aquila.usm.edu/masters_theses/643","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Douglas Rust","Danny Beard","Joseph Brumbeloe"]},{"key":"dc:creator","label":"Author","values":["Maynard, Olivia"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2019-03-27T07:00:00Z"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Masters Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Music (MM)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["John Adams","minimalism","Hallelujah Junction","analysis","linear","structure","Music Theory"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://aquila.usm.edu/masters_theses/643"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This paper presents and demonstrates a linear approach to works from John Adams’ most recent compositional period (1991–). Existing research into this period primarily focuses on specific surface-level events, with little examination of deeper large-scale structures within the works. Chapter 1 reviews the existing research, as well as relevant research into minimalist music and post-tonal analysis, and some existing approaches are then incorporated into the methodology presented in Chapter 2. The methodology is presented in three stages: identifying formal structure, identifying linear structures through salient pitches, and determining harmonic support for those salient pitches. The methodology is demonstrated in greater detail in Chapter 3 through an analysis of Adams’ 1996 chamber work, Hallelujah Junction. The linear analysis ofHallelujah Junction reveals an overarching harmonic progression within the work, and provides insight into the manner in which Adams establishes and resolves harmonic expectations, even through his characteristic gradual processes.
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