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Du Fay's Magnetic Counterpoint : = Experiencing Melody, Harmony, Texture, & Form in the Tenor Masses.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Du Fay's Magnetic Counterpoint :/
Reminder of title:	Experiencing Melody, Harmony, Texture, & Form in the Tenor Masses.
Author:	Barbosa, Emily Elizabeth Yvonne.
Description:	1 online resource (401 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 83-11, Section: A.
Contained By:	Dissertations Abstracts International83-11A.
Subject:	Music theory. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29167236click for full text (PQDT)
ISBN:	9798438726999

Du Fay's Magnetic Counterpoint : = Experiencing Melody, Harmony, Texture, & Form in the Tenor Masses.
Barbosa, Emily Elizabeth Yvonne.

Du Fay's Magnetic Counterpoint :Experiencing Melody, Harmony, Texture, & Form in the Tenor Masses. - 1 online resource (401 pages)

Source: Dissertations Abstracts International, Volume: 83-11, Section: A.

Thesis (Ph.D.)--Indiana University, 2022.

Includes bibliographical references

In this dissertation, I present an analytical system for describing and experiencing Du Fay's counterpoint. A reader will encounter several basic concepts and tools that can easily be used to capture the remarkable organization and musical coherence of the tenor masses. My system comprises several essential components, and throughout this study I present a detailed and extensive application of these tools and concepts, guiding the reader towards an experience of this music that is characterized by experiences of magnetic motion. In chapter one, I situate this study within the context of existing literature and advance two essential concepts: (1) a system that captures the tonal organization of phrases, which I refer to as delineated pitch spaces; and (2) a phrase model that embodies experiences of magnetic motion. Both delineated pitch spaces and my phrase model aid in experiencing a type of musical coherence of all phrases throughout the masses, yet each voice texture also has certain musical elements that are more pronounced than others and significantly contribute to expressing experiences of motion. In chapter two, I discuss how intervals and melodies, prominently featured in two-voice counterpoint, suggest experiences of magnetic motion on several different formal levels. Harmony and harmonic progressions come to the fore in four-voice counterpoint (chapter three), as two different types of harmonies (pitch-space and "Other" harmonies) interact in a variety of ways to suggest an experience of motion throughout phrases and subphrases. Different types of textures are featured in three-voice counterpoint, discussed in chapter four, and I note how each texture type contributes to subtly different perceptions of motion. Throughout this study, I both explicate and demonstrate these concepts in detail, describing the experiences of motion and how they contribute to perceiving musical coherence; chapter five brings all these topics together to discuss full-movement analysis and areas of future research. One of the central goals of my theory is to demonstrate that this music can be experienced and described using metaphors of motion. Magnetic motion-experiencing attraction and repelling/departure-is used as a metaphor to capture the experience of this repertoire. As previously mentioned, I consider how melody, intervals, harmony, texture, and form both contribute to these experiences of motion and can be described from these perspectives. Ultimately, I present an analytical system that can be used for (1) experiencing motion throughout Du Fay's masses, and (2) formally analyzing the musical coherence of his compositional style.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798438726999Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

AnalysisIndex Terms--Genre/Form:

542853
Electronic books.

Du Fay's Magnetic Counterpoint : = Experiencing Melody, Harmony, Texture, & Form in the Tenor Masses.
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500 $a Source: Dissertations Abstracts International, Volume: 83-11, Section: A.
500 $a Advisor: Samarotto, Frank.
502 $a Thesis (Ph.D.)--Indiana University, 2022.
504 $a Includes bibliographical references
520 $a In this dissertation, I present an analytical system for describing and experiencing Du Fay's counterpoint. A reader will encounter several basic concepts and tools that can easily be used to capture the remarkable organization and musical coherence of the tenor masses. My system comprises several essential components, and throughout this study I present a detailed and extensive application of these tools and concepts, guiding the reader towards an experience of this music that is characterized by experiences of magnetic motion. In chapter one, I situate this study within the context of existing literature and advance two essential concepts: (1) a system that captures the tonal organization of phrases, which I refer to as delineated pitch spaces; and (2) a phrase model that embodies experiences of magnetic motion. Both delineated pitch spaces and my phrase model aid in experiencing a type of musical coherence of all phrases throughout the masses, yet each voice texture also has certain musical elements that are more pronounced than others and significantly contribute to expressing experiences of motion. In chapter two, I discuss how intervals and melodies, prominently featured in two-voice counterpoint, suggest experiences of magnetic motion on several different formal levels. Harmony and harmonic progressions come to the fore in four-voice counterpoint (chapter three), as two different types of harmonies (pitch-space and "Other" harmonies) interact in a variety of ways to suggest an experience of motion throughout phrases and subphrases. Different types of textures are featured in three-voice counterpoint, discussed in chapter four, and I note how each texture type contributes to subtly different perceptions of motion. Throughout this study, I both explicate and demonstrate these concepts in detail, describing the experiences of motion and how they contribute to perceiving musical coherence; chapter five brings all these topics together to discuss full-movement analysis and areas of future research. One of the central goals of my theory is to demonstrate that this music can be experienced and described using metaphors of motion. Magnetic motion-experiencing attraction and repelling/departure-is used as a metaphor to capture the experience of this repertoire. As previously mentioned, I consider how melody, intervals, harmony, texture, and form both contribute to these experiences of motion and can be described from these perspectives. Ultimately, I present an analytical system that can be used for (1) experiencing motion throughout Du Fay's masses, and (2) formally analyzing the musical coherence of his compositional style.
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650 4 $a Music. $3 516178
650 4 $a Music history. $3 3342382
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653 $a Counterpoint
653 $a Du Fay
653 $a Fifteenth-century
653 $a Magnetism
653 $a Motion
653 $a DuFay
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710 2 $a Indiana University. $b Music Theory. $3 3168619
773 0 $t Dissertations Abstracts International $g 83-11A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29167236 $z click for full text (PQDT)