Brian hyer dissertation

Brian hyer dissertation

Brian Hyer Dissertation Their Support is real people, and they are always friendly and supportive. I had a problem with my payment once, and it took them like 5 mins to solve it. Their writers are also pretty cool. They write quality papers, and you can actually chat with them if you Brian Hyer Dissertation want/10() Brian Hyer Dissertation, essay about writing process, middle school essay topics, character analysis essay on jane eyre Brian Hyer Dissertation Contrast Essays. Compare and contrast essays are some of the most interesting essays to write. We will provide useful information that’s meant to guide a writer in completing his or her task in a manner that’s interesting and Read more>> Testimonials

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edu no longer supports Internet Explorer. To browse Academia. edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser. Log In with Facebook Log In with Google Sign Up with Apple. Remember me on this computer. Enter the email address you signed up with brian hyer dissertation we'll email you a reset link. Need an account? Click here to sign up. Download Free PDF. The Art of Recomposition Dissertation Talk.

William O'Hara. Download PDF Download Full PDF Package This paper. A short summary of this paper. Figure 1: Richard Wagner, Tristan und Isoldeprelude, mm, brian hyer dissertation. What does it mean to say that a passage of music does not exist? By some definitions, neither of the sets of dots on these opening slides are music in and of themselves: they are recipes for creating a sequence of sounds. One of them was written by someone widely considered to be one of the greatest composers of all time, Richard Wagner.

The other is a thought experiment, written by a regional appeals court judge in the not-yet-musically famous city of Darmstadt. That judge was Gottfried Weber, known to us today not for his jurisprudence, brian hyer dissertation, but rather for his contributions to music theory. This tradition is where Gottfried Weber comes in. The highlights include a negative letter to the editor of Magazin der Musik in April ; the anecdote about the parts being torn up, brian hyer dissertation, recounted in a September edition of Allgemeine musikalische Zeitung; the critical comments of Giuseppe Sarti [which exist only in a fragment dated between and ]; the debate between Brian hyer dissertation Fétis and the pseudonymous A.

Weber writes, On the last quarter note of m. After this enharmonic thought experiment, Weber moves on quickly, taking the notational argument as self-evident as he continues his analysis.

The figure, however, goes much further than a simple notational argument about a single pitch, and it deserves further investigation. Translation modified. This new music was composed by Weber himself, and bears no resemblance to what Mozart wrote. The many differences between the two passages do not only represent what the far-reaching effects of altering a single note might be. Rather, they show us a theorist adding a dash of his own creativity to an already- existing piece of music.

Weber never acknowledges the surplus in this example—his sudden burst of creativity—and indeed never again refers to the events of his hypothetical mm. He leaves them as a tantalizing glimpse into a new piece that might have been, but never was. And what does this all tell us about the ways in which we think and talk about music, how our theories model musical processes, and most importantly how music works?

How can we brian hyer dissertation a history of this practice, that traces out how it operated in music even earlier than this, and that follows the development of various recompositional arguments through to our present situation, in which recomposition happens in the music theory classroom with no friction at all?

Recompositions can happen for a variety of reasons. They can serve as hypothetical or counterfactual arguments; they can relate pieces of music to normative models, or proposed musical structures; they can make meta-musical, analytical statements; and they can make arguments about how we listen. My study is concerned not only with collecting and analyzing recompositions, but also with uncovering the habits of thought that make recomposition possible, or desirable, and with dissecting the aesthetic commitments they reveal.

Recompositions are relatively common in music theory, yet they often seem to fade into the woodwork. In most cases, they pass as an objective analytical technique, but they are actually deeply subjective and contingent. Attempting to expose and study theoretical recompositions on their own terms brings us into close proximity with a variety of other methodological issues in music theory.

Such a movement is never neutral; it is always transformational, inevitably resulting in something being added, lost, or altered along the way, brian hyer dissertation. Musical translations happen almost constantly: from notation into sound, from sound back into notation, and from brian hyer dissertation medium into mental representations, into various forms of symbolic or verbal description in the form of analysis. And sounding music is translated by the body, the ear, brian hyer dissertation, and the brain, into various kinds of representation and knowledge, which can then be translated back, ad infinitum.

By using notation to convey the idea that the music could easily go differently, and that a change would have both an immediate effect on the music, as well as perhaps a longer- lasting one, Weber cuts straight to the brian hyer dissertation of modern music analysis.

Yet, by inserting so much of himself into the diagram in the form of all the notes beyond the downbeat of m. It is for both of these reasons that recomposition is both a useful tool, and one in need of more critical attention and understanding.

Along with its relevance for our understanding of musical metalanguage and analytical diagrams, recomposition sheds light on other difficult questions.

The case studies in this dissertation probe the relationship between theorists, the music they analyze, and those who composed it. They explore how the techniques we associate with advanced music analysis have analogues in the practices undertaken by all listeners.

They force us to re-evaluate the ways in which we talk about the musical canon, musical creativity, and the practices of listening. Studying recomposition also directly addresses issues that arise in the process of editing music for critical, performing, or Urtext editions, and the act of building a historical context for recomposition mirrors the study of the history of musical editing. Despite my desire to connect theoretical recomposition to other aspects of the discipline, I had to have limits.

These characteristics are not hard brian hyer dissertation fast rules, but general guidelines. First of all, recompositions as I conceive them are undertaken, on their surface, for brian hyer dissertation or aesthetic reasons, never artistic ones. Although I argue that we can benefit from treating brian hyer dissertation laboratory brian hyer dissertation in much the same way as we treat full pieces of music, brian hyer dissertation recompositions I study exist primarily for pedagogical or theoretical reasons, brian hyer dissertation.

The second requirement I impose is that, in addition to the refractions inherent in any sort of musical translation, a recomposition must make a substantive and intentional change to the music: some alteration that goes beyond representation or reduction. Perhaps the most useful boundary case for a definition of theoretical recomposition is found in the theory and analytical method of Heinrich Schenker, which transcribes excerpts or entire pieces of music into a specialized analytical notation that omits or perhaps more accurately, chooses not to represent many musical details.

Other details, in turn, are given special emphasis by means brian hyer dissertation stems, flags, and various kinds of slurs.

Whether one considers a Schenkerian graph to be a recomposition or not depends partly upon whether or not one is a true believer in the theory, brian hyer dissertation. Are Urlinien and Baßbrechungen truly present in pieces of tonal music in some way, or are they imagined theoretical devices?

If the latter is true, then a Schenkerian analysis is not a recomposition, but merely a representation: it employs reductive and descriptive notation to highlight aspects of the music as it is or at least, as it is according to the theory. Recompositions, on the other hand, function by describing music as it is not, brian hyer dissertation.

Any orthodox Schenkerian, however, would argue that such tones are indeed a part of the music, in a meaningful way. Scholars like Steve Larson and Matthew Brown, for instance, who present Schenkerian analysis as a highly regimented and systematic process, are unlikely to view Schenkerian analysis as recompositional. Kristof Boucquet traces it to an anecdote retold by Carl Schachter. Gilbert, Introduction to Schenkerian Analysis New York and London: W. Norton and Company, In a sense, then, implied brian hyer dissertation are the border between representation and recomposition on which Schenkerian analyses tread: sometimes individual diagrams fall on one side of the brian hyer dissertation or the other, and a broad study of recomposition can help to shed light on the relationship of these diagrams to the music under consideration.

In general, Schenkerian analysis is not a primary concern of my study. A better understanding of how recompositions work in context will thus reflect back upon more mainstream aspects of music theory— including not only Schenkerian theory, but Neo-Riemannian theory, Formenlehre, and semiotic and narrative analysis—informing and enriching them accordingly. This might seem like a trivial requirement, but it is actually critical.

The verbal descriptions that surround recompositions are important, but they are just descriptions. So my third rule is in place for several reasons. By focusing and concretizing verbal brian hyer dissertation about music, recomposition either eliminates vagueness, or usefully highlights it. Would it be a half cadence, or a full cadence? Carrying this statement out as a recomposition requires an engagement with the various facets of music that make a medial caesura possible: harmonic rhythm, texture, modulatory scheme, and so forth.

This happens not only at the moment of the presumed caesura itself, but also—crucially—in the measures that precede it and follow it. In order to reinforce a verbal argument with notation, brian hyer dissertation, the theorist must make decisions among the various possibilities that present themselves.

Recomposition brian hyer dissertation thus a kind of double-edged sword: it makes for highly concentrated musical arguments, but also tends to leave the door open for deeper investigation: recompositions can lay bare the flaws in an argument, exposing both the strengths and the Peter Szendy, Listen: A History of Our Ears, brian hyer dissertation, trans.

Charlotte Mandel New York: Fordham 13 University Press,5. In their propensity to set off inadvertent chain reactions, recompositions reveal the ideological and aesthetic commitments inherent in any mode of musical discourse, and highlight the deep interconnections between melody, motive, harmony, counterpoint, rhythm, meter, and form, brian hyer dissertation.

I am grouping them based not on the particular techniques used—that is, not by recompositions of phrase rhythm, and recompositions of harmony, melody, and so forth—but by what I think the recomposer was trying to accomplish. These happen in both the music theory classroom, and in scholarly writings, brian hyer dissertation.

Most of the practitioners of this approach, from pedagogues like Shersten Johnson and Melissa Hoag, to analysts like Hans Keller and Matt BaileyShea, argue that recomposition can be a way to make strong arguments in musical form; that is, using music as a strong metalanguage, to comment on other music, in lieu of a detailed verbal description. In their concision and vivid illustrative potential, they also demonstrate its power, brian hyer dissertation. Analytical recomposition, however, can also be a way of approaching intertextuality.

His analytical process mirrors the processes of influence and intertextuality that unfold between composers. Gerold W. Gruber Frankfurt am Main: Peter Lang, Christopher Wintle with Bayan Northcott and Irene Samuel Cambridge and New York: Cambridge University Press, Christopher Wintle with Bayan Northcott and Irene Samuel Cambridge and New York: Cambridge University Press, BaileyShea seeks to bring these analytical and compositional impulses together, drawing out the critical and analytical tendencies of musical intertextuality.

The act of creating such a brian hyer dissertation, as BaileyShea points out, can also benefit the recomposer, by allowing her to draw together theoretical knowledge, compositional creativity, performance, and critique. François-Joseph Fétis among others found fault with the passage as well. In his account of K.

Though it is certainly creative, it is carried out towards critical ends. He did so, as shown in Figure 6. In this case, Fétis attempts to save Mozart from himself—or at least, used the pretense of protecting Mozart in order to advance their own music-theoretical perspectives.

Such analytical tinkering—was not seen by its practitioners, at least as interfering with the work as it was handed brian hyer dissertation in the notation of a revered composer. In his own account of the controversial passage, Gottfried Weber gives six examples of how we might fix the opening measures, to brian hyer dissertation them more consonant and bring them more closely in line with the expectations of tonal theory. It is surrounded by various recompositions, which are grouped according to significant characteristics: whether the three-voice counterpoint is intact all except f, as indicated by the large circle ; whether or not the lower contrapuntal voice is altered so that a consonant G lands on the downbeat of m, brian hyer dissertation.

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Brian hyer dissertation

The Art of Recomposition Dissertation Talk • April 18, • Harvard University Department of Music William O’Hara • williamevanohara@blogger.com My master’s degree advisor, Brian Hyer, likes to joke that he wrote his entire dissertation about three measures of music: the opening of Richard Wagner’s famous prelude to Tristan und Isolde, rendered here in his impeccable hand (Figure 1) Brian Hyer Dissertation, guide to write an essay, word essay about football when you graduate college, homework tables Using our cheap essay writing help is beneficial not only because of its easy access and low cost, but because of Brian Hyer Dissertation how helpful it can be to your studies/10() Brian Hyer Dissertation, nus law admissions ess, holiday homework of gd goenka public school siliguri, thesis beard phd comics