... . “ ‘A Beautiful, Shining Sound Object’: Contextualizing Multi-instrumentalism in the Association for the Advancement of Creative Musicians .” D.M.A. thesis , University of Washington . Driscoll Matthew . 2015 . “ Diverse Practices of Graphic Notation .” M.A. thesis , Mills College . Heffley...

...}, two of the three multi-cyclic tetrachords (the other is [0268]) that appear throughout Berg’s music; and in the motivic “cyclic+” collections, or cyclic collections with an added note, such as the 1-cycle+ and 2-cycle- based+ collection [0126] which appears segmentally in rows 2,3,4.8 While...

... in the case of SINGLE, or no weighting value whatsoever in the case of SIMUL. When the results have been computed and a composite view is developed, the resulting analysis approximates one in which the Instrumental Timbre Dimension is assigned a more rea- sonable WV. One might approach solving a multi...

...—parameters which relate basically to pitch and loudness—exert an influence on the resulting timbre. The complexity of timbre is evident when one attempts to depict it within a representational space: timbre can- not be modeled within one-dimensional space, but only by means of multi-dimensional scaling...

... in an all-partition array composition, because the complete row is always presented in a single register, by a single instrument (in a multi-instru- ment work), and unaccompanied at some point in the work. The multiplicative operations employed by Boulez to “the row” of Le marteau sans maître...

... investigations with it and its ancestors. 227 Rosalia The sense of familiarity that Example 1(b) offers is due not only to its large patterns and leisurely pace of harmonic change compared to (a), but also to its multi...

... Music Theories.” Ph.D. diss., Harvard University. 2007. “Multi-aggregate Cycles and Multi-aggregate Serial Techniques in the Music of Béla Bártok.” Music Theory Spectrum 29/2: 143–76. 2008. “Near-Maximally-Distributed Cycles and an Instance...

...- work of discrete, multi-directional pitch-interval constructions in the first scene of the monodrama. III Primary structural attributes, basic constructs, terminology Before beginning the analysis of select extracts from Scene 1, it is worth outlining the basic...

... a tale of suspected adultery and savage jealousy. It might even become popu- lar. Or one could write it “in quotation marks,” as Adornian music about music, or as a Stravinskian essay in historical mimicry, or as part of a multi- movement exercise in Schnittkean polystylism. A problem...

... inclusion among four works composed during the past two decades, and indeed hardly qualifies as “contemporary.” Though it was not composed as recently as the other works discussed here, it presents notorious difficulties to organists. Furthermore, Messiaen's unique musical language, the multi-limb physical...

... of the unfixed nature of temporal events. The argument proceeds in two stages. First, it demonstrates how the structural properties and gestural content of the first version of Domaines are rooted in the common-subset and common-tone relationships of the multi...

... of the Tonnetz.” Theoria 13: 99–111. 2007. “Multi-aggregate Cycles and Multi-aggregate Serial Techniques in the Music of Béla Bartók.” Music Theory Spectrum 29/2: 143 –76. 2008. “On Bartók’s Comparative Musicology as a Resource for Bartókian Analysis.” Integral 22: 59–79. 2014...

... as much as produce dis- garde music, whose temporality, in contrast, is defined in tinct objects. Depending on what it is associated with, Les terms of transience rather than endurance. On the multi- espaces acoustiques may be a number of different things: plicity of the object, and the various...

..., and the multi- media events staged by Jarman and Roscoe Mitchell. Here Lewis cites the Reviews    Steinbeck on Lewis 337 “conduction” techniques that Abrams developed for conducting improvisatory performances by the Experimental Band...

... Edward T. Cone’s often cited article “Stravinsky: The Progress of a Method,” Perspectives of New Music 1/1 (1962): pp. 18–26, which analyzes multi-layered continuities in several of the Russian composer’s works, most fa- mously the Symphonies of Wind Instruments. Though Cone remains...

.... Knowledge of them, however, goes back at least as far Riemann ( 1898 : 318–24). La Via's (2007: 88–89) suggestion that Alberti's De re aedificatoria ( 1485 : I.9, IX.5) is significant in this connection is intriguing; see also Shephard 2022 . 67 “Harmoniam atque musicam idem esse multi credunt...

... of a multi-movement work? That all that lies across these movements is ad hoc? What of works in which ideas from one movement return in another—or, in opera, among different acts? How shall we characterize the Beethoven Fifth and Ninth Symphonies, as well as his op. 131 Quartet (see note 7, below...

... the parallel. Symphony No. 4 in C minor, D. 417; 1st Movement We turn now to the opening movement of the Fourth Symphony, the “Tragic,”19 one of a series of multi-movement instrumental works com- posed in March-April, 1816. Collectively, the pieces composed during this period suggest a time...

...” (reproducing characteristics of a commonplace genre unchanged); “genre transformation”; “genre development”; “genre variation” or “genre modulation” (change of genre character of one and the same theme) and “juxtaposition of genres as means (devices) of development”; “genre multi-origin or variability...

... “apparent double medial caesuras” within a two- part exposition, that is, the production of an additional MC somewhere in the center of the exposition. The TMB, as illustrated in Table 1, is a multi- 13 It would be an interesting study to demonstrate the involve the new key...