Music

Beethoven is widely considered to be one of the most influential composers of all time. His compositions denote a crucial turning point in the history of western music, and his influence can be discussed in numerous ways - musically, technically, theoretically and even philosophically. This treatise discusses one of the primary aspects of Beethoven's influence on later generations: the way that his symphonies contributed to the expansion of the genre and, consequently, to the development of the orchestra. Included is a detailed analysis of his nine symphonies, an overview of his personal life, and an exploration of the historical, social, and political time in which he lived. This thesis collects and examines relevant documents in order to inquire about and better understand the changes and innovations that transformed the standard orchestra of the eighteenth century, opening the doors to the symphonic music of the Romantic Era.

This dissertation investigated the nature of pulse in the tempo fluctuation of music performance and how people entrain with these performed musical rhythms. In Experiment 1, one skilled pianist performed four compositions with natural tempo fluctuation. The changes in tempo showed long-range correlation and fractal (1/f) scaling for all four performances. To determine whether the finding of 1/f structure would generalize to other pianists, musical styles, and performance practices, fractal analyses were conducted on a large database of piano performances in Experiment 3. Analyses revealed signicant long-range serial correlations in 96% of the performances. Analysis showed that the degree of fractal structure depended on piece, suggesting that there is something in the composition's musical structure which causes pianists' tempo fluctuations to have a similar degree of fractal structure. Thus, musical tempo fluctuations exhibit long-range correlations and fractal scaling. To examine how people entrain to these temporal fluctuations, a series of behavioral experiments were conducted where subjects were asked to tap the pulse (beat) to temporally fluctuating stimuli. The stimuli for Experiment 2 were musical performances from Experiment 1, with mechanical versions serving as controls. Subjects entrained to all stimuli at two metrical levels, and predicted the tempo fluctuations observed in Experiment 1. Fractal analyses showed that the fractal structure of the stimuli was reected in the inter-tap intervals, suggesting a possible relationship between fractal tempo scaling, pulse perception, and entrainment. Experiments 4-7 investigated the extent to which people use long-range correlation and fractal scaling to predict tempo fluctuations in fluctuating rhythmic sequences.

The use of new media technology which refers to digital, computerized, or networked information and communication technologies such as the Internet, mobile devices, gaming, and social networks, has come to define the music industry today, and it is this technology that has empowered independent artists in such a way that they are now free to pursue heights of success previously only available to major label artists. New media technology has affected the traditional business models of major labels, it has resulted in gross decline in recording costs, given birth to new channels of music marketing, and business models, and has created a new music clientele that requires instant gratification, personalization, and connectivity. In the face of such change, independent artists have been empowered and can access opportunities to distribute music independently, market and promote music effectively to niche markets, secure publishing deals, while building their own community of dedicated fans.

Three original suites, composed during 2008-2009, are presented and discussed with respect to form, style, and compositional techniques. The subjects are Suite No. 1 (clarinet and piano), Suite No. 2: For Paul, A Master of Music (clarinet, piano, double bass and drums), and Suite No. 3: L'Chaim (two clarinets, flugelhorn, French horn, bandoneon, piano, violin, and cello). Common to all three pieces is the inspiration of klezmer, a Jewish music genre that, during its reemergence over the past thirty-five years, has welcomed the influence of other musical styles. In keeping with the eclectic nature of klezmer, each suite builds upon the previous one with regard to instrumentation, style and technique, and embraces additional genres (jazz and tango). Brief reviews regarding the history and musical characteristics (including modes, ornamentation and improvisation, song types and instrumentation) for all the included genres are also presented for the benefit of compositional context.

Stanislaw Moniuszko (1819-1872) is the father of the Polish national opera, and yet he is little known outside Poland. His two masterpieces, Halka and The Haunted Manor, are operatic works that contributed to the development of national music. Moniuszko composed during the middle of the nineteenth century when Poland was under control of the three Powers: Russia, Prussia, and Austria. A study of Polish history reveals the understanding of Moniuszko's position as an artist and the role of his operas. The national elements portrayed in his compositions include Polish dances, such as the polonaise, mazurka, and krakowiak, as well as folk tunes, and most importantly, the libretto with social and patriotic stances. This thesis intends to enlighten English speakers about the development of Polish national opera, its innovator, and his techniques.

When John Cage invented the prepared piano in 1940, he created a sound world and body of music unlike anything heard before. The innovative music he wrote for prepared piano requires a completely new approach to performance, and expands our understanding of the piano's capabilities. This study will examine the main prepared piano works by John Cage, with a detailed analysis of the Sonatas and Interludes. Cage's Table of Preparations will be examined to establish an aesthetic rationale for this preparation. Different modes of listening will be explored through a selection of the Sonatas and Interludes recorded in three different technological systems - conventional AB 2.0, surround 5.1, and Disk Jecklin. The latter allows for a true "surround sound" experience as Cage himself might have heard his own pieces. Included is a compact disc of selections from Sonatas and Interludes recorded in each of the three technological systems.

The success of the music therapy profession has been well established, though the healing properties of music are not yet fully understood. Clinical observations show the medicinal value of music therapy; however, it is challenging to quantify music's beneficial effects. Examining music therapy's effectiveness in treating neurological disorders can possibly help to better validate this profession. However, music therapy is a multidisciplinary field, and perhaps we must come to a better understanding of how the various disciplines relate to one another. Music has the power to modulate our emotions. Neurological studies involving music therapy might help to uncover the connection between our emotional states and our physical health. To truly understand the success of music therapy, we must further study the role of emotions in the healing process. Future examinations of the emotional factor in music therapy may hold the key to a better understanding of how music affects us.

Paule Maurice (1910-1967) is the little known composer of Tableaux de Provence: Suite for Saxophone and Orchestra, one of the most frequently recorded and studied classical saxophone compositions in history. A more in depth study of Paule Maurice reveals a talented composer and dedicated professor whose career at the Conservatoire National Supérieur de Musique de Paris and l'Ecole Normale de Musique de Paris spanned over twenty-five years until her untimely death at age fifty-seven. Maurice composed for theatre, ballet, French National Radio, orchestra, voice, piano, flute, clarinet, and saxophone. There is question as to the whereabouts of many of her manuscripts. This thesis attempts to bring to bear the life and accomplishments of a talented French composer not well remembered in music history.

While the general public agrees that the Sex Pistols were punk--they were dirty, vile, low-class, and they sang crass lyrics--their aesthetics were originally brought into punk by the New York Dolls, by bringing the street into their performance. The New York Dolls were from the New York City streets; they were mediocre musicians, unglamorous, and not at all phantasmagorical. They removed the hierarchy and the bourgeois elements from their performances that had been established by previous New York City bands like the Velvet Underground--who performed as high-class, elitist artists. The New York Dolls destroyed this hierarchy, allowing the audience to join them. So, all the aesthetics that are associated with punk are the physical, visual, and auditory manifestations of the original scene and unity that began with the New York Dolls.