UC Davis

Abstract (Part I)Part I: Radical Part-Writing Techniques in Beethoven and Beyond: Defining Elements of Musical Arcs

My music theory dissertation explores non-normative contrapuntal techniques in the works of several composers, from Beethoven through Shulamit Ran. In Western art music from the 18th century onward, counterpoint generally functions as a way to maintain independence between voices and to drive the melodic and harmonic action forward, both toward local cadences and toward long-range structural “landmarks.” Using musical examples, I observe and analyze how composers subvert the conventional functions of counterpoint via part-writing procedures that 1) undermine the foundational independence between voices, or 2) weaken harmonic and formal momentum. These unconventional part-writing techniques have a variety of impacts on the pieces in question, ranging from small structural deformations and deviations within a classical template to innovative narrative trajectories.

Abstract (Part II)Part II: Works Inspired by Sephardic Folk Songs

The composition portion of my dissertation is a collection of seven works based on selected Sephardic folk songs. The pieces in the collection, written for a variety of instruments and ensembles, are as follows:

1) A solo flute piece based on the song “La Prima Vez” 2) A piano four hands piece, also based on “La Prima Vez” 3) A piece for wind trio and electronics based on “La Rosa Enflorece” 4) A work for sinfonietta (13 musicians) based on “Lavava y Suspirava” 5) A piece for dancers, cello, and piano based on “Los Caminos de Sirkedji” 6) A work for SATB choir based on both “Mama, yo no tengo visto” and “Puncha, puncha” 7) A sound installation, made in Logic Pro X, based on “Al Pasar por Casablanca.”

My pieces explore many aspects of the songs on which they are based, including the songs’ modal, melodic, rhythmic, and textual parameters, as well as their respective cultural contexts. Generally speaking, I avoid the traditional theme and variations structure in favor of a freer approach to variation and form.