http://hdl.handle.net/2104/4903 Sat, 18 May 2013 13:59:06 GMT 2013-05-18T13:59:06Z http://hdl.handle.net/2104/8242 An investigation of pedagogical methods for increasing the perceived relevance of music theory courses to undergraduate music students. Ripley, Angela N. This thesis investigates three pedagogical avenues toward increasing the perceived relevance of music theory to undergraduate music students. These avenues include exploring the relation of analysis to performance, the use of questions that stimulate critical thinking by allowing multiple analytical interpretations, and the incorporation of a variety of types of assignments and musical genres into the music theory curriculum. In addition to surveying a wide range of literature on these topics, this thesis presents a three-fold assignment that addresses aspects of all three avenues. Wed, 14 Sep 2011 00:00:00 GMT http://hdl.handle.net/2104/8242 2011-09-14T00:00:00Z http://hdl.handle.net/2104/8043 The impact of visual-music interaction on music perception : the influence of agreement and disagreement. Moore, Jordan, 1985- Previous audiovisual cognition research has focused primarily on music's impact on visual perception. The goals of this study are to explore the impact of visuals on the perception of affective and acoustical qualities of music, and to develop a method for discussing the mood interactions of film and music. Text music and visual music analyses demonstrate two types of interactions: agreement and disagreement of moods. In an empirical investigation, participants were presented interactions in music and visual clips: agreeing music and visual, disagreeing music and visual, and music without visual. Participants were asked to rate acoustical properties using scales and adjective choice tasks. The results demonstrated an impact of visual mood on music perception: when in agreement, the mood was retained; when in disagreement, the visual's mood influenced the music's perception. The conclusions are applied to Cohen's associationist congruence model by describing a new communication pathway between music and visual in film music perception. Includes bibliographical references (p. ). Fri, 08 Oct 2010 16:23:17 GMT http://hdl.handle.net/2104/8043 2010-10-08T16:23:17Z http://hdl.handle.net/2104/7950 Musical process and the structuring of riffs in Metallica. Van Valkenburg, Aaron. This study focuses on the 1980s thrash metal music of Metallica. It analyzes the harmonic and melodic nature of Metallica's riffs and examines how musical processes help shape the formal structures of these riffs. Drawing upon Robert Hopkins's and Wallace Berry's ideas of progression, recession, and stasis as fundamental musical processes, this study explores how certain musical elements define these processes both individually and in combination within this repertoire. The study culminates in the analysis of riff structure in comparison with classical phrase models including the sentence and period. Includes bibliographical references (p. ). Wed, 23 Jun 2010 12:26:00 GMT http://hdl.handle.net/2104/7950 2010-06-23T12:26:00Z http://hdl.handle.net/2104/4895 Reworking of musical material and the reinterpretation of musical drama: Luciano Berio's Sequenza X (1984) and Kol Od [Chemins VI] (1996). Harbuziuk, David. Luciano Berio wrote a series of pieces entitled Chemins for soloist and ensemble. Each chemins contains one entire solo line from one of his sequenzas for solo instruments. Numerous similarities and differences between Sequenza X and Kol Od [Chemins VI] cause the "musical drama" present in the sequenza to be variously preserved or altered in the chemins. Includes bibliographical references (p. 150-152). Wed, 14 Feb 2007 21:46:31 GMT http://hdl.handle.net/2104/4895 2007-02-14T21:46:31Z