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Volume 10, Number 2, June 2004
Copyright © 2004 Society for Music Theory
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Jones, Jr. Melvin E. "Key Classes and Textural Dissonance: An Instrument-specific Study of the Idioms, Textures, and Structures of Selected Early Romantic Music for the Guitar (1799-1850)." Indiana University-Bloomington, August 2004.
AUTHOR: Jones, Jr. Melvin E
TITLE: KEY CLASSES AND TEXTURAL DISSONANCE: AN INSTRUMENT-SPECIFIC STUDY OF THE IDIOMS, TEXTURES, AND STRUCTURES OF SELECTED EARLY ROMANTIC MUSIC FOR THE GUITAR (1799-1850)
INSTITUTION: Indiana University
BEGUN: March 2002
COMPLETED: August 2004
ABSTRACT:
This dissertation undertakes a variety of approaches, both traditional and new,
to early Romantic music for the six-string guitar. Specifically, this
dissertation explores the means by which the textural and registral limitations
of the instrument itself result in a unique set of voice-leading and structural
schemata, and how these schemata relate to the music for other instruments of
the time. Of primary importance in this regard is the introduction of the key
class, an original classification scheme introduced in Chapter IV, that studies
modulation from an instrument-specific viewpoint. From the perspective of the
key class, compositions can be understood in part through a narrative of
textural dissonance and resolution, which often can amplify and elucidate the
deeper tonal structural levels.
This focus of this dissertation is twofold: historical and analytical.
Chapter II establishes the historical context for the instrument, its composers,
and its music, paving the way for the analytical study that follows. Chapters
III-VI comprise the analytical section, considering works for the guitar by
composers such as Giuliani, Sor, and Legnani, both in solo and ensemble
contexts. In many instances, isolated examples are taken, but several case
studies, which view complete works, as representatives for the complete body of
literature, are also undertaken.
KEYWORDS: texture, register, timbre, sonority, key class, modulation, guitar, Legnani, Giuliani
TOC:
Chapter I Introduction
Chapter II The Instrument and Its Context
Chapter III Guitar Idioms: Register, Sonority, Texture, and Harmony
Chapter IV Modulation and Key Classes
Chapter V Instrument-Specific Analyses of Sonata Form: Issues with Key Class,
Register, and Recapitulation
Chapter VI The Guitar in Ensemble Settings
Chapter VII Conclusion
Appendix:
Part One: Voice-Leading Analyses of Selected Works
Part Two: Complete Scores of Selected Works
CONTACT:
M. Rusty Jones
138 Fine Arts Building
School of Music
University of Missouri-Columbia
Columbia MO 65211
e-mail: jonesmel@missouri.edu
phone: 573..884.4683
fax: 573.884.7444
Karamahmutoglu, Gulay. "Hamparsum Notation Manuscripts at Istanbul Ataturk Library." ITU Turkish Music State Conservatory, December 1999.
AUTHOR: Gulay Karamahmutoglu
TITLE: Nr:1637 Hamparsum Notation Manuscripts at Istanbul Ataturk Library
INSTITUTION: ITU Institude of Social Science
BEGUN: 1997
COMPLETED: December 1999
ABSTRACT: Hamparsum Notation is a note writing system developed by Hamparsum Limonciyan (1768-1839) who was encouraged and demanded by Sultan Selim III. This system is technically bases on Khaz notation system, which used by the Ancient Armenian Church. Hamparsum notation has proved useful to thousands of compositions have been come down today.
This study regarding "Nr: 1637 Hamparsum Notation Manuscripts at Istanbul Ataturk Library" has been prepared to transform all compositions in this book into today's international musical notation system. A preliminary knowledge concerning the history and the development of the notation has been given as introduction. In chapter II, history, transcription and the use of Hamparsum Notation in Turkish Classical Music have been presented. The detailed knowledge about manuscripts, which formed the theme of this thesis, has been given in chapter III. And in chapter IV, a list of the compositions in manuscripts and the transcriptions of the notations have been taken part. An acquirement concerning manuscripts and the determinations have been given in conclusions. The original photocopies taken from manuscripts also exist in appendix section.
KEYWORDS: Hamparsum Notation, International Musical Notation System, Hamparsum Limonciyan, Turkish Classical Music, Manuscripts, Nr: 1637 Hamparsum Notation Manuscript, Khaz System of Ancient Armenian Church, Istanbul Ataturk Library
TOC:
Volume 1
Index
Preface
Index
List of Figures and Forms
Turkish Summary
English Summary
Chapter 1: Introduction
Chapter 2: Hamparsum notation and its usage in Turkish Music
Chapter 3: Nr: 1637 Hamparsum Notation Manuscripts at Istanbul Ataturk Library
Chapter 4: Transcriptions of the notations to today's musical notation system
Conclusion
Bibliography
C.V.
Volume-2: Appendix
The photocopies of original manuscripts
CONTACT:
Gulay Karamahmutoglu
ITU Turkish Music State Conservatory
Research Assist.
e-mail: vivace@superonline.com
gulay_karamahmutoglu@hotmail.com
Address:
ITU Turk Musikisi Devlet Konservatuari
Macka Kampusu
Macka, ISTANBUL
Tel: +902122931300 / 2639
Manning, David J. "Harmony, Tonality and Structure in Vaughan Williams's Music." Cardiff University, December 2003.
AUTHOR: David J. Manning
TITLE: Harmony, Tonality and Structure in Vaughan Williams's Music
INSTITUTION: Cardiff University
BEGUN: October 2000
COMPLETED: December 2003
ABSTRACT: Many elements of and reflections on tonality are to be found in Vaughan Williams’s music: tonal centres are established and sustained, consonant triads are pervasive, and sonata form (a structure associated with tonality) is influential in the symphonies. But elements of the tonal system are also challenged: the diatonic scale is modified by modal alterations which affect the hierarchical relation of scale degrees, often consonant triads are not arranged according to the familiar patterns of functional harmony, and the closure of sonata form is compromised by the evasive epilogue ending of many movements and rotational structures. This music is not tonal or atonal, nor does it stand on any historical path between these two thoroughly theorised principles of pitch organisation. With no obvious single theoretical model at hand through which to explore Vaughan Williams’s music, this analysis engages with Schenkerian principles, Neo-Riemannian theory, and the idea of sonata deformation, interpreting selected extracts from various works in detail. Elements of coherence and local unities are proposed, yet disruptions, ambiguities, subversions, and distancing frames all feature at different stages. These are a challenge to the specific principle of organisation in question; sometimes they also raise concerns for the engagement of theory with this repertoire in general. At such points, meta-theoretical issues arise, while the overall focus remains on the analytical understanding of Vaughan Williams’s music.
More information is available at http://www.geocities.com/davidjmanning2004
KEYWORDS: vaughan williams, Neo-Riemannian, Schenker, sonata deformation, analysis
CONTACT:
David J. Manning
70 Silverhurst Drive
Tonbridge
Kent TN10 3QH
United Kingdom
davidmanning@postmaster.co.uk
07762 902043
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