Dissertation Index
Author: Freer, Nicholas Title: Allan Holdsworth: Principles of Harmonic Organisation in Selected Compositions Institution: University of Melbourne Begun: January 2017 Completed: July 2022 Abstract: This thesis analyses selected post-tonal compositions by contemporary guitarist Allan Holdsworth. This thesis uses the pitch-class set-theory model as a basis of analysis. It also engages contemporary post-tonal extensions to existing tonal concepts such as voice leading in set-class space, consonance and dissonance measures, transposition and symmetry. Within the thesis and the Holdsworth compositions selected, various levels of connections are explicated through harmonic analysis of surface level transformations, succession analysis from individual simultaneities up to macro-organisational structures and formal processes. Holdsworth consciously eschews the harmonically prescriptive functionality and acculturated melodic syntax of traditional tonal jazz (often replicated through imitation), purposely manifesting his own paradigm. This paradigm has several key components: an expansion of chord-scale principles, a wide range of referential sets utilised as linear and vertical sources of pitch-class grouping, the employment of non-tertian harmony, and the utilisation of non-functional harmonic succession(s). Keywords: Allan Holdsworth, Jazz Analysis, Music Theory, Set-Theory, Jazz Music Theory, TOC: Part I: Overview Chapter One An Introduction to Allan Holdsworth 1.0 Holdsworth as a Performer and Composer Chapter Two Situating Allan Holdsworth Chapter Three Literature Review Part II: “The Sixteen Men of Tain” (2000) Chapter Four “The Sixteen Men of Tain” (2000) – Analysis and Overview of Subsection B1 Chapter Five BCS Transposition in B1 and the Complete Transpositional Cycle in “The Sixteen Men of Tain” Chapter Six Transposition and Invariance in the B Section of “The Sixteen Men of Tain” Chapter Seven The Hyper Nonatonic Superset Multiplex and Inter-Collection Transposition in “The Sixteen Men of Tain” Chapter Eight The Correlation of Harmonic Organisation in John Coltrane’s "Giant Steps” and Holdsworth’s “The Sixteen Men of Tain” Part III: “5 to 10” (1992) Chapter Nine “5 to 10” (1992) – Overview and Analysis of the A Section Chapter Ten The Seven Phrases in the A Section of “5 to 10” Chapter Eleven Rhythm, Duration and Harmony in the A Section of “5 to 10” Chapter Twelve The B Section of “5 to 10” Part IV: “The Drums Were Yellow” (2000) Chapter Thirteen The Chord Section of “The Drums Were Yellow” (2000) Chapter Fourteen The Second Phrase of “The Drums Were Yellow” Chapter Fifteen The Third Phrase of “The Drums Were Yellow” Chapter Sixteen The Fourth Phrase of “The Drums Were Yellow” Chapter Seventeen The Fifth Phrase of “The Drums Were Yellow” Part V: Thesis Conclusion Chapter Eighteen The Holdsworth Oeuvre 304 Contact: www.nickfreer.com https://minerva-access.unimelb.edu.au/atmire-cua/reports/ItemTopCountriesPage?dso=e656501e-67d5-4010-b2a3-212a0f8be473 |