Browsing by Author "Richards, William"
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Item Jazz harmony: pitch-class set genera, transformation, and practical music(2012) Richards, WilliamContemporary jazz musicians draw from a rich and varied collection of techniques and strategies used towards the realization of harmonic succession, voicing and voice-leading, and linear improvisation. While musicians recognize the distinctiveness of various jazz chord-scales and harmonies, they also talk about “source scales” and chord families, and describe processes that apply to the manipulation of chord progressions including chord and chord-scale substitution, interpolation, and reduction. Aligned to jazz theoretic discourse, this paper presents a model of set-class space in which scales and chords typical of the jazz language coalesce into pc-set genera and form inter-generic relations through transformation. The model suggests a holistic, theoretical definition of jazz harmony and offers musicians a way of thinking about relations among scales and harmonies in terms of a transformational system that resides in transformational space, which in turn can be employed systematically and imaginatively towards the creation and interpretation of jazz music.Item Lunar winter(2008) Richards, WilliamThis is the title track for a self-produced electronica album I did in 2008 [Lunar winter]. I call my style of electronica "eclectronica." Soul Dog is my electronica name (visit my site: souldogmusic.com). This track and others of my self-produced electronica/eclectronica were published (CD) as part of the MacEwan produced POP CITY 4 (2009).Item Transformation and generic interaction in the early serial music of Igor Stravinsky(2003) Richards, WilliamThis dissertation investigates the compositionally continuous and discontinuous serial and non-serial formations found at or near the musical surface in works selected from Stravinsky’s early serial music, draws these formations into relationships through the analytical apparatus of an original transformational system, and explores their interactions through the model of generic set-class space. Ultimately, a dynamic model of the pitch structure for each of these works emerges that transcends order relationships embedded within the linear formations.