MA, Kent State University, 2020, College of the Arts / School of Music, Hugh A. Glauser

This thesis outlines the development of harmonic dualism and traces its evolution into inverse harmony. The first section of this thesis provides a historical overview of harmonic dualism through the writings of several theorists over a time period of nearly 500 years. Dualism as a singular concept refers to the origin of the minor triad in relation to its physical properties, primarily from string division and the overtone series. This thesis outlines the manner by which dualism, through its chronological development, becomes applicable in functional harmony rather than as a purely theoretical concept. The phenomenon common to all of the operations discussed throughout this thesis is contextual inversion; a transformative process in which a harmony inverts around one or more of its notes to become another harmony. The second half of this thesis analyzes specific instances of inverse harmony in classical literature, demonstrating a more appropriate understanding of their harmonic function and providing a resource for composition. These analyses will include contrary takes on the present understanding of the music of Romantic-era composers including Brahms and Strauss, as well as a from-scratch analysis of music from the same era. The analysis section will conclude with four brief analyses of four contemporary music selections containing instances of inverse harmony.

Committee: Joshua Albrecht PhD (Advisor); Adam Roberts PhD (Committee Member); Christopher Venesile PhD (Committee Member) Subjects: Acoustics; Fine Arts; History; Music

M.M., University of Cincinnati, 2004, College-Conservatory of Music: Theory

Music theorists at the turn of the eighteenth-century focused much of their energy introducing new theoretical methods for musical composition. As a result the field of music theory grew into several important areas. Jean-Philippe Rameau (1683-1764) first presented many of the ideas that form our modern analytical practice. In Traite de l'harmonie, Rameau established a system of harmonic principles currently in use today. These include: constructing chords in a series of thirds, the formation of the major triad from the overtone series, the relationship of chords to a tonal center, the theory of chordal inversions, and the theory of fundamental bass. Although Rameau first intended his theory of fundamental bass to be used as a pedagogical tool, the function of the fundamental bass developed into revealing the foundation or root of each chord. The purpose of the chordal root was to serve as an early theoretical and analytical perception later interpreted by Roman numerals. The purpose of this Thesis will be to present an analysis of Rameau's fundamental bass theory as it is applied to the music of the French overture style. In addition to Rameau's overtures, some by Lully and Telemann were chosen to allow comparison both chronologically and nationally. Pieces selected include Alceste, Cadmus et Hermione, and Adamis by Lully; Hippolyte et Arcie, La Princesse de Navarre, and Castor et Pollux by Rameau; and Suite in D, Overture in D minor, and Orchestral Suite in F minor by Telemann. Rameau's theory of fundamental bass was a theoretical revolution. It provided a new model to indicate not only the origin of harmonies, but how these harmonies progressed in music over real time. His theory also verified the interpretation of a succession of harmonies to be a process of motion. The essence of this Thesis is to demonstrate that the fundamental bass theory developed by Rameau is a practical description of music from that time and beyond.

Committee: Robert Zierolf Ph.D. (Committee Chair); Miguel Roig-Francoli Ph.D. (Committee Member); Mary Sue Morrow Ph.D. (Committee Member) Subjects: Education; Music

Doctor of Philosophy, The Ohio State University, 1970, Graduate School

Committee: Not Provided (Other) Subjects: Music

Doctor of Philosophy, The Ohio State University, 2017, French and Italian

L'objectif de cette these est de relever la presence de certains elements anthropologiques, plus precisement chamaniques dans deux ouvrages tires de la litterature francaise : Le neveu de Rameau de Diderot et Caligula d'Albert Camus. Notre travail demontrera que les protagonistes de ces deux ouvrages, le neveu et Caligula, presentent des traits et des caracteristiques rappelant ceux d'un chamane. Dans Le neveu de Rameau cette proposition semble traduire la volonte meme de Diderot, notamment dans la facon dont le personnage du neveu a ete concu selon la perception du XVIIIe du chamane. Nous etablirons que cette perception impregnee d'eurocentrisme ignore la vraie valeur de la fonction sociale et spirituelle porteuse d'une verite d'un chamane, et ne se concentre que sur l'aspect exterieur des rites chamaniques. Cette conception erronee percoit le rite chamanique comme etant simplement le fruit d'une excentricite flagrante et non pas comme l'enonciation, de la part du neveu, d'une verite qui se trouve dans son discours et son gestuel. Dans la piece de Camus, nous releverons des elements s'apparentant au chamanisme telle la transformation de Caius en Caligula qui s'apparente a un rite initiatique provoque par la mort de sa sœur Drusilla qui entraine la prise de conscience de Caligula d'une verite : l'absurde. Nous releverons dans les deux ouvrages des passages ou le neveu et Caligula se rapprochent de la fonction de chamane dans la mediation qu'ils exercent entre deux esthetiques, l'une representant la norme de leur epoque, l'autre une nouvelle esthetique porteuse d'une verite artistique (le neveu) et de la dure verite de l'absurde (Caligula). La folie represente le point de depart de notre travail en ce qu'elle manifeste a la fois l'authenticite de la teneur du discours des personnages et de la maniere dont ils vivent. Nous mettrons en relief la verite contenue dans cette folie en utilisant comme outil d'analyse Histoire de la folie a l'age classique et L (open full item for complete abstract)

Committee: Danielle Marx-Scouras Professor (Advisor) Subjects: Literature

Doctor of Philosophy, Case Western Reserve University, 2016, Musicology

The animated statue represented one of the central magical figures in French musical theater of the seventeenth and eighteenth centuries. During the period covered by this dissertation, 1661-1748, animated statues appeared in more than sixty works of musical theater of almost every available genre. This number does not include the many works containing statues that demonstrated magical or otherworldly properties through means other than movement or song. Some of the works of this period that feature living statues are well-known to musicologists—e.g. Moliere/Jean-Baptiste Lully's comedy-ballet Les Facheux (1661), Lully's opera Cadmus et Hermione (1673), and Jean-Philippe Rameau's one-act ballet Pigmalion (1748)—while others have received little recognition. This dissertation is the first study to consider the history of animated statues on the French stage during this period, and the first to reveal music as a defining feature of these statues. Over the course of nearly ninety years, music assumed an increasingly important role in the theatrical treatments of these figures that operated in the space between magic and mechanics. At the beginning of Louis XIV's reign, animated statues appeared with some frequency in both public and court spectacles. By the mid-eighteenth century, the animated statue had become the central focus of many works and had transformed into a potent symbol of, among other ideas, the power of music and dance, as most dramatically realized in Rameau's Pigmalion. This dissertation traces the history of this transformation.

Committee: Georgia Cowart (Committee Co-Chair); Francesca Brittan (Committee Co-Chair); Susan McClary (Committee Member); Elina Gertsman (Committee Member) Subjects: Art History; Dance; European History; Music; Theater

Doctor of Philosophy, The Ohio State University, 2008, Music

Function is one of those words that everyone understands, yet everyone understands a little differently. Although the impact and pervasiveness of function in tonal theory today is undeniable, a single, unambiguous definition of the term has yet to be agreed upon. So many theorists - Daniel Harrison, Joel Lester, Eytan Agmon, Charles Smith, William Caplin, and Gregory Proctor, to name a few - have so many different nuanced understandings of function that it is nearly impossible for conversations on the subject to be completely understood by all parties. This is because function comprises at least four distinct aspects, which, when all called by the same name, function, create ambiguity, confusion, and contradiction. Part I of the dissertation first illuminates this ambiguity in the term function by giving a historical basis for four different aspects of function, three of which are traced to Riemann, and one of which is traced all the way back to Rameau. A solution to the problem of ambiguity is then proposed: the elimination of the term function. In place of function, four new terms - behavior, kinship, province, and quality - are invoked, each uniquely corresponding to one of the four aspects of function identified. The meanings of these new terms are elucidated by such harmonic topics as secondary dominants and six-four paradigms. A notation system is developed for behavior, in particular, which is used in conjunction with two standard systems of harmonic analysis to form a Three-fold System of Analysis that yields deeper explanations of harmony characteristics. Part II of the dissertation reveals how my theory of behavior leads to new explanations for chromatic harmonies. A definition of tonicization is proposed based on behavior paradigms. The models suggest that tonicization is a better explanation than is mixture for many chromatic notes and harmonies that are typically explained with mixture. Further, so-called linear or voice-leading chords (such as augme (open full item for complete abstract)

Committee: Gregory Proctor PhD (Advisor); Graeme Boone PhD (Committee Member); Lora Gingerich Dobos PhD (Committee Member) Subjects: Music