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- Music Reading
A New Contemporary Endeavor in Music Theory and Composition: A Twenty-first Century Darmstadt School
- Music Reading
Lesson location
About Zane
University of Waikato, Hamilton, New Zealand
2016
• Presented original research at The New Zealand Musicological Society Annual Conference
The University of Memphis
2009 – 2013
• Private Tutor mentoring both Graduate and Undergraduate students in Composition, Pedagogy of Music Theory, and Music Theory II each week.
• Occasionally led weekly Composition Seminar.
University of Mississippi
2007 – 2009
• Host - salons for intellectuals, artists, poets, musicians, etc.
• Head - Noumenist Coterie - mentoring GRAD/UGRADs in the arts.
• Top o/class - Schenkerian & Post-tonal Theory.
• 2008 annual meeting of the South-Central Society for Music Theory
Theban Legion Christian Academy
1986 – 1990
• Engaged in music theoretical analysis.
A New Contemporary Endeavor (Website)
November 2015
Musical language must change according to a prospective approach. Hence, the need for a new contemporary endeavor, one that contributes to culture in a non-museological way, bringing contemporary work out of its academic area of isolation, cultivating a wider public, and attracting likeminded and/or marginalized composers like a 21st-century Darmstadt School.
“A Model of Triadic Post-Tonality for a Neoconservative Postmodern String Quartet by Sky Macklay”
August 2015
A comprehensive harmonic analysis of Sky Macklay's Many, Many Cadences (2014). Submitted to the Peer-reviewed Music Theory Journal Perspectives of New Music in August, 2015.
Doctoral Research
2009 – 2012
Rudi E. Scheidt School of Music, University of Memphis, Memphis, TN, 2009 – 2012 (Research Adviser: Dr. John Baur).
• The formulation of a rationale for sonata-allegro form based on the notion of transpositional combination as surrogate tonality in Anton Webern’s Five Movements for String Quartet, Op. 5, No. 1.
• Analytical work shows how music taken from John Adam’s opera Dr. Atomic (i.e., the overture, various interludes and orchestral settings of arias) was adapted by the composer into a symphony.
• Analysis of continuous variation and melodic and pitch recurrence in Ellen Taaffe Zwilich’s Symphony No. 1.
• A study of the impact of Claude Lévi-Strauss’ Le Cru et le cuit on the form of Luciano Berio’s Sinfonia documents the importance of the similarity between a certain mythical transformation and its structural musical equivalent.
Predoctoral Graduate Research
2007 – 2009
Department of Music, University of Mississippi, Oxford, MS, 2007 – 2009 (Research Adviser: Dr. Michael Worthy).
• Quantitative analysis of motivic evidence for recursion in Claude Debussy’s Prélude à l’aprés-midi d’un faune and its implications for Composition Pedagogy.
• Investigation of the role of dissociation in post-formal-operational music listening.
Department of Music, University of Mississippi, Oxford, MS, 2007 – 2009 (Research Adviser: Dr. John Latartara).
• Monument by György Ligeti: spectral analysis and description of a large-scale statement of the aggregate in each piano part that spans almost the entire work through an additive process involving trichordal transformation, including a miniaturization of the process in measures 90 – 93.
Department of Music, University of Mississippi, Oxford, MS, 2007 – 2009 (Research Adviser: Dr. Alan Spurgeon).
• Ethnomusicological fieldwork involving the collection of local folk music by means of digital video recordings of host culture informants and making notational transcriptions of those recordings.
Department of Music, University of Mississippi, Oxford, MS, 2007 – 2009 (Research Adviser: Dr. David W. Steele).
• Ontological reductionism in the music of the 20th century.
"An Aesthetic Evaluation of a New Technique of Composition Inspired by Leading Principles of Chaos Theory"
2000 – 2004
Initial experiment was expected to mimic the determinism of “classical” music displayed by previous phase-shifting process music. However, the experiment actually resulted in intriguingly unpredictable and chaotic 2-voice polyphony. This intuitive departure from a piece’s formal essence to a new manifestation of the procedural essence of process music led to a profound self imbeddedness which could afterward be seen in the MIDI sequencer’s text edit event list and which may help explain the departure of composers (especially Ligeti) from Serialism in the early 1960’s. By trying different values of the nonlinear parameter of my technique, the character of the resultant music is changed drastically to mirror the rough and scabrous nature of the universe. This music can be characterized as fractionally dimensional by virtue of the reiteration of the transformative process, and displays self-similarity in that it becomes more detailed with each new time-scale according to a certain constant measurement. In the same way that the music of the Futurism movement begun in Italy around 1910 formally expressed the dynamism of machinery, the music of the algorithm at hand gives formal expression to the mechanics of chaotic processes. This music has properties similar to those of the strange attractors of chaos theory in that for all the superficial disorder there is an unexpected regularity hidden within: each line belongs to a section corresponding to a single iteration of the topological process. However, the music of my algorithm possesses such an over-abundance of pitch that pitch becomes largely unnecessary to the music’s ostensible, technogenetic meaning as that of klangfarben.
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About the lesson
- Elementary
- Intermediate
- Advanced
- +7
levels :
Elementary
Intermediate
Advanced
Grunnstig
Miðstig
Framhaldsstig
Háskólastig
Miðpróf
Framhaldspróf
Tónlistarkennaranám
- English
All languages in which the lesson is available :
English
TOPICS / OBJECTIVES
1. Acoustics and Clefs, Key, Scales, Key Signatures, and Intervals
2. Triads, Functional Harmony
3. Part Writing: Triads, Rhythm and Meter
4. Cadences and Phrases, Nonharmonicism, Six-Four Chords
5. Bimodality and the Neapolitan Sixth Chord, Modulation
6. Seventh and Ninth Chords, Secondary Dominants and Subdominants
7. Augmented Sixth Chords, Melodically Derived Harmony
8. Eleventh and Thirteenth Chords, Other Scales
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Rates
Rate
- US$25
Pack prices
- 5h: US$125
- 10h: US$250
online
- US$25/h
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