5 research outputs found

    The Eighteenth-Century Woodwind Cadenza

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    A New Place at the Table: Ancient Cadential Patterns for Modern Improvision and Aural Skills Training

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    Contemporary efforts to integrate improvisation practice into institutional music education are many and varied, but lack of improvisatory skill remains an ongoing problem, especially in classical music instruction. Drawing on artisanal training, in which a corpus of memorized repertoire becomes a stylistic knowledge base, source of cognitive schemata and raw material for creative variation, a useful set of historically-derived ‚Äústandards‚ÄĚ can be found in the three introductory cadences used in the Neapolitan conservatory partimento tradition (It. Cadenza Semplice, Cadenza Composta, Cadenza Doppia) of the seventeenth and eighteenth centuries. Referencing music cognition research, music theory sources and improvisation discourse, this paper argues that intervallic suspensions in these schemata (4-3, 7-6) can be seen as a simple demonstration of error perception and correction, a cognitive process that can be deployed to develop and strengthen both aural and creative skills. Integration of these cadences into beginner training also suggests a reassessment of the order of introduction of musical elements found in formal music instruction, which privileges the chord as a discrete entity, and relegates intervallic suspension, schemata and counterpoint to intermediate, advanced, or supplementary study. These cadences concisely synthesize 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 vocal and instrumental training are presented. The dissertation recommends that intervallic suspensions be given a renewed ‚Äúplace at the table,‚ÄĚ once again taking their former role as primal examples of compositional structure and aesthetic possibility

    The Harmonic Implications of the Non-Harmonic Tones in the Four-Part Chorales of Johann Sebastian Bach

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    This study sought to identify the harmonic implications of the non-harmonic tones in the four-part chorales of Johann Sebastian Bach and to identify if the implications were modern, extended harmonies. The study examined if non-harmonic tones implied traditional or extended harmonies more often, which non-harmonic tones more frequently implied extended harmonies, and which chords typically preceded implied extended harmonies. The study was a corpus analysis of the four-part chorales. The data collected was organized in and analyzed with frequency charts and a chi-square goodness of fit test and chi-square tests of independence from the chordal analysis conducted by the researcher. Harmonic implications of extended harmonies not only exist in the chorales but are also nearly as plentiful as implications of seventh chords. A single non-harmonic tone is most likely to produce an implication of an extended harmony and triads are most likely to precede an extended harmony

    The War on the Critical Condition. Volume 1

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    In my so called 'serious' research (into best practice realisation of ancient and medieval music), a major theme has been the preparation of multiple realisations of a text or musical work, in response to music that has no critical or singular edition. This has applied to both scores and recorded works and this premise has had a profound effect on both my realised early music and new art music composition. This paper documents two methods of consciously working against the notion of a critical edition. The first is three recorded realisations of the prologue to Hildegard of Bingen's 12th Century music drama Ordu Virtutum (ABC Classics 2007). Each realisation becomes an existing work in itself and sets to prove that early music notation allows the space for significant new composition. The second case study, Namu Amida Butsu, a new piece of honkyoku for solo shakuhachi, is the genesis of another process. An existing scored and recorded work is currently being deconstructed with the purpose of being recomposed either on Garageband or a comparable music sequencing program. The ramifications of this method are significant because the technique of 'comping' , from which this is derived, is common in popular and image based music where it is used to produce a critical edition similar to that of a score. However in this case new technology is not used to reinforce an existing structure, but to find multiple new structures from the source material

    Emulsion: a study in improvisation, participation and curation as a compositional process

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    This composition PhD thesis considers how performers and improvisers communicate with their audience members within a performance space through a series of original compositions that utilise improvisation, curation, some aspects of collective practice, and some elements of audience interaction. The realisations of the compositions presented in this project are both the medium for, and the result of, my practice-based research. This work was primarily conducted in the context of my new music festival Emulsion and straddles the fields of jazz studies, contemporary composition, sound art, and performance studies. The project considers the impact of community, language, and place on my compositional and performance practice; explores the value and meaning of both active and passive participation in collective music-making; and examines various forms of communication between jazz artists and their audiences, such as gesture, memory, expression and embodiment
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