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| roy nitzberg: Composition, Chromaticism and the Developmental Process Henry Burnett, 2017-07-05 Musicology, having been transmitted as a compilation of disparate events and disciplines, has long necessitated a 'magic bullet', a 'unified field theory' so to speak, that can interpret the steady metamorphosis of Western art music from late medieval modality to twentieth-century atonality within a single theoretical construct. Without that magic bullet, discussions of this kind are increasingly complicated and, to make matters worse, the validity of any transformational models and ideas of the natural evolution of styles is questioned and even frowned upon today as epitomizing a grotesque teleological bigotry. Going against current thinking, Henry Burnett and Roy Nitzberg claim that the teleological approach to observing stylistic change is still valid when considered from the purely compositional perspective. The authors challenge the traditional understanding of development, and advance a new theory of eleven-pitch tonality as it relates to the corpus of Western composition. The book plots the evolution of tonality and its bearing on style and the compositional process itself. The theory is not based on the diatonic aspect of the various tonal systems exploited by composers; rather, the theory is chromatically based - the chromatically inflected octave being the source not only of a highly ingenious developmental dialectic, but also encompassing the moment-to-moment progression of the musical narrative itself. Even the most profound teachings of Schenker, and the often startlingly original and worthwhile speculations of Riemann, Tovey, Dahlhaus and others, still provide no theory of development and so are ultimately unable to unite the various tendrils of the compositional organism into a unified whole. Burnett and Nitzberg move beyond existing theory and analysis to base their theory from the standpoint of chromatic 'pitch fields'. These fields are the specific chromatic pitch choices that a composer uses to inform and design a complete composition, utilizing |
| roy nitzberg: Keys to the Drama Professor Gordon Sly, 2013-01-28 Sonata form is fundamentally a dramatic structure that creates, manipulates, and ultimately satisfies expectation. It engages its audience by inviting prediction, association, and interpretation. That sonata form was the chief vehicle of dramatic instrumental music for nearly 200 years is due to the power, the universality, and the tonal and stylistic adaptability of its conception. This book presents nine studies whose central focus is sonata form. Their diversity attests both to the manifold analytical approaches to which the form responds, and to the vast range of musical possibility within the form's exemplars. At the same time, common compositional issues, analytical methods, and overarching perspectives on the essential nature of the form weave their way through the volume. Several of the essays approach the musical structure directly as drama, casting the work as an expression of its composer's engagement with an idea or principle that is dynamic and at times intensely difficult. Others concentrate their attention on a composer's use of motive, which typically takes the form of a simple melodic span that shapes the musical architecture through an interdependent series of structural levels. Integrating these motivic threads within the musical fabric often warrants departures from formal norms in other areas. Analyses that seek to understand works with anomalous formal qualities-whether engendered by a motivic component or not-have a prominent place in the volume. Among these, accounts of idiosyncratic tonal discourse that threatens to undermine the unfolding of form-defining qualities or events are central. |
| roy nitzberg: Embedded with Organized Labor Steve Early, 2009-07 Collected for the first time, the essays that comprise Embedded With Organized Labor present a unique and informed perspective on the class war at home from a longtime organizer and “participatory labor journalist.” Steve Early tackles the most pressing issues facing unions today and describes how workers have organized successfully, on the job and in the community, in the face of employer opposition now and in the past. This wide–ranging collection deals with the dilemmas of union radicalism, the obstacles to institutional change within organized labor, and strategies for securing workers’ rights in the new global economy. It also addresses questions hotly debated among union activists and friends of labor, including workers’ rights as human rights, new forms of worker organization such as worker centers, union democracy, cross–border solidarity, race, gender, and ethnic divisions in the working class, and the lessons of labor history. |
| roy nitzberg: Night of the Bayonets Lee Eric, 2020-12-02 In the final days of World War II in Europe, Georgians serving in the Wehrmacht on Texel island off the Dutch coast rose up and slaughtered their German masters. Hitler ordered the island to be retaken and fighting continued for weeks, well after the war's end. The uprising had it origins in the bloody history of Georgia in the twentieth century, a history that saw the country move from German occupation, to three short years of independence, to Soviet rule after it was conquered by the Red Army in 1921. A bloody rebellion against the Soviets took place in 1924, but it remained under Russian Soviet rule. Thousands of Georgians served in the Soviet forces during World War II and among those who were captured, given the choice of “starve or fight”, some took up the German offer to don Wehrmacht uniforms. The loyalty of the Georgians was always in doubt, as Hitler himself suspected, and once deployed to the Netherlands, the Georgian soldiers made contact with the local Communist resistance. When the opportunity arose, the Georgians took the decision to rise up and slaughter the Germans, seizing control of the island. In just a few hours, they massacred some 400 German officers using knives and bayonets to avoid raising the alarm. An enraged Hitler learned about the mutiny and ordered the Germans to fight back, showing no mercy to either the Georgians or the Dutch civilians who hid them. It was not until 20 May, 12 days after the war had ended, that Canadian forces landed on the island and finally put an end to the slaughter. Eric Lee explores this fascinating but little known last battle of the Second World War: its origins, the incredible details of the battle and its ongoing legacy. |
| roy nitzberg: A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler Mark Ellis, 2017-07-05 For centuries, the augmented sixth sonority has fascinated composers and intrigued music analysts. Here, Dr Mark Ellis presents a series of musical examples illustrating the 'evolution' of the augmented sixth and the changing contexts in which it can be found. Surprisingly, the sonority emerged from one of the last remnants of modal counterpoint to survive into the tonal era: the Phrygian Cadence. In the Baroque period, the 'terrible dissonance' was nearly always associated with negative textual imagery. Charpentier described the augmented sixth as 'poignantly expressive'. J. S. Bach considered an occurrence of the chord in one of his forebear's motets 'remarkably bold'. During Bach's composing lifetime, the augmented sixth evolved from a relatively rare chromaticism to an almost commonplace element within the tonal spectrum; the chord reflects particular chronological and stylistic strata in his music. Theorists began cautiously to accept the chord, but its inversional possibilities proved particularly contentious, as commentaries by writers as diverse as Muffat, Marpurg and Rousseau reveal. During the eighteenth century, the augmented sixth became increasingly significant in instrumental repertoires - it was perhaps Vivaldi who first liberated the chord from its negative textual associations. By the later eighteenth century, the chord began to function almost as a 'signpost' to indicate important structural boundaries within sonata form. The chord did not, however, entirely lose its darker undertone: it signifies, for example, the theme of revenge in Mozart's Don Giovanni. Romantic composers uncovered far-reaching tonal ambiguities inherent in the augmented sixth. Chopin's Nocturnes often seem beguilingly simple, but the surface tranquillity masks the composer's strikingly original harmonic experiments. Wagner's much-analyzed 'Tristan Chord' resolves (according to some theorists) on an augmented sixth. In Tristan und Isolde, the chord's mercurial |
| roy nitzberg: The Memetics of Music Steven B. Jan, 2007 Richard Dawkins's formulation of the meme concept in his 1976 classic The Selfish Gene has inspired three decades of work in what many see as the burgeoning science of memetics. This study is the first musicologically-orientated attempt systematically to apply the theory of memetics to music. In contrast to the two points of view normally adopted in music theory and analysis - namely those of the listener and the composer - the purpose of this book is to argue for a distinct and illuminating third perspective. The perspective is that of the (selfish) replicated musical pattern itself, and adopting it is central to memetics. |
| roy nitzberg: Harmony in Haydn and Mozart David Damschroder, 2012-08-16 Innovative analytical techniques provide a penetrating view of how Haydn and Mozart employ harmony in their compositions. |
| roy nitzberg: Understanding Music Hans Heinrich Eggebrecht, 2010 Hans Heinrich Eggebrecht was one of the most influential German musicologists of the twentieth century and yet he is almost unknown to English readers. Understanding Music summarizes Eggebrecht's thoughts on the relationship between music and cognition. As he says in his preface, the purpose of his book is 'to direct the reader towards the fundamental issues and processes implied in understanding music. What does understanding mean when applied to music? How is the process to be described?...What role do language and history play?'. Eggebrecht's answers to these and other questions amount to a compelling account of how the mind grasps the sounds of music in themselves and what other factors contribute to music's meaning so much to us as listeners. |
| roy nitzberg: The Music of Chou Wen-chung Eric Chiu Kong Lai, 2009-01-01 Chou Wen-chung is one of the most influential musical figures of our time. Although he is active in various artistic and cultural circles, his major calling has always been composition. As a composer, Chou has created a group of works whose stylistic innovation and technical profundity are distinctive among composers of his generation. His music, which has received critical acclaim around the globe, documents his creative journey, especially in the realization of re-merger - the fusion of Eastern and Western music that has become a new mainstream in art music. Through extensive focus on sketch study, Eric Lai examines Chou's music to contribute to an understanding of his aesthetic orientation, his compositional technique, his role in the development of new music, and his influence upon the younger generation of composers. |
| roy nitzberg: Music in Chopin's Warsaw Halina Goldberg, 2008-03-04 Warsaw was aware of and in tune with the most recent European styles and fashions in music, but it was also the cradle of a vernacular musical language that was initiated by the generation of Polish composers before Chopin and which found its full realization in his work. Had Chopin been born a decade earlier or a decade later, Goldberg argues, the capital - devastated by warfare and stripped of all cultural institutions - could not have provided support for his talent. The young composer would have been compelled to seek musical education abroad and thus would have been deprived of the specifically Polish experience so central to his musical style.--BOOK JACKET. |
| roy nitzberg: Adrian Willaert and the Theory of Interval Affect Timothy R. McKinney, 2016-03-23 In the writings of Nicola Vicentino (1555) and Gioseffo Zarlino (1558) is found, for the first time, a systematic means of explaining music's expressive power based upon the specific melodic and harmonic intervals from which it is constructed. This theory of interval affect originates not with these theorists, however, but with their teacher, influential Venetian composer Adrian Willaert (1490-1562). Because Willaert left no theoretical writings of his own, Timothy McKinney uses Willaert's music to reconstruct his innovative theories concerning how music might communicate extramusical ideas. For Willaert, the appellations major and minor no longer signified merely the larger and smaller of a pair of like-numbered intervals; rather, they became categories of sonic character, the members of which are related by a shared sounding property of majorness or minorness that could be manipulated for expressive purposes. This book engages with the madrigals of Willaert's landmark Musica nova collection and demonstrates that they articulate a theory of musical affect more complex and forward-looking than recognized currently. The book also traces the origins of one of the most widespread musical associations in Western culture: the notion that major intervals, chords and scales are suitable for the expression of happy affections, and minor for sad ones. McKinney concludes by discussing the influence of Willaert's theory on the madrigals of composers such as Vicentino, Zarlino, Cipriano de Rore, Girolamo Parabosco, Perissone Cambio, Francesco dalla Viola, and Baldassare Donato, and describes the eventual transformation of the theory of interval affect from the Renaissance view based upon individual intervals measured from the bass, to the Baroque view based upon invertible triadic entities. |
| roy nitzberg: The Cambridge History of Sixteenth-Century Music Iain Fenlon, Richard Wistreich, 2019-01-24 Part of the seminal Cambridge History of Music series, this volume departs from standard histories of early modern Western music in two important ways. First, it considers music as something primarily experienced by people in their daily lives, whether as musicians or listeners, and as something that happened in particular locations, and different intellectual and ideological contexts, rather than as a story of genres, individual counties, and composers and their works. Second, by constraining discussion within the limits of a 100-year timespan, the music culture of the sixteenth century is freed from its conventional (and tenuous) absorption within the abstraction of 'the Renaissance', and is understood in terms of recent developments in the broader narrative of this turbulent period of European history. Both an original take on a well-known period in early music and a key work of reference for scholars, this volume makes an important contribution to the history of music. |
| roy nitzberg: Basic Music Reference Alan Green, Michael J. Duffy, IV, 2012-11-01 Basic Music Reference is a quick-start guide designed to introduce library employees to the basic tools and techniques involved in answering questions related to music. As in every specialist subject area, music has its own terminology, but unlike most, it also has a multitude of formatson paper and other materialsas well as special notation and frequent use of foreign languages in titles and texts. These features make it particularly difficult for library employees to answer users questions and thus a guide such as this one is essential. Not all libraries with a music collection can afford to hire a music reference librarian. Even libraries with such a specialist rely on support staff and student employees to answer questions when the music librarian is not available. Whatever the scenario, this volume will serve as a helpful training tool for library employees to learn about the basic music reference tools, and to develop the techniques of greatest use when answering the most common types of music-related questions |
| roy nitzberg: Sourcebook for Research in Music, Third Edition Allen Scott, 2015-06-01 Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come. |
| roy nitzberg: Hogaku , 1983 |
| roy nitzberg: Speaking of Music James R. Cowdery, Zdravko Blažeković, Barry S. Brook, 2004 |
| roy nitzberg: The New International Review , 1988 |
| roy nitzberg: Music Roger Kamien, 1998 |
| roy nitzberg: The Musical Language of Italian Opera, 1813-1859 William Nathan Rothstein, 2023 The Musical Language of Italian Opera, 1813-1859 examines operatic music by five Italian composers--Rossini, Bellini, Mercadante, Donizetti, and Verdi--and one non-Italian, Meyerbeer, showing how certain recurring principles define a distinctively Italian practice that left its mark on the German repertoire more familiar to music theorists. |
| roy nitzberg: Music in Theory and Practice Bruce Benward, Marilyn Nadine Saker, 2009 This text gives music majors and minors a solid foundation in the theory of music. It strengthens their musical intuition, builds technical skills, and helps them gain interpretive insights. The goal of the text is to instruct readers on the practical application of knowledge. The analytical techniques presented are carefully designed to be clear, uncomplicated, and readily applicable to any repertoire. The two-volume format ensures exhaustive coverage and maximum support for students and faculty alike. Volume I serves as a general introduction to music theory while volume II offers a survey of the theoretical underpinnings of musical styles and forms from Gregorian Chant through the present day. The supplemental instructor's materials provide clear-cut solutions to assignment materials. Music in Theory and Practice is a well-rounded textbook that integrates the various components of musical structure and makes them accessible to students at the undergraduate level [Publisher description]. |
| roy nitzberg: Instructor's Manual to Accompany The Art of Music Bryan R. Simms, 1993 |
| roy nitzberg: Dissertation Abstracts International , 2000 |
| roy nitzberg: Directory of Music Faculties in Colleges and Universities, U. S. and Canada , 2006 |
| roy nitzberg: Senate Actions of the ... Cornell University Senate Cornell University. Senate, 1974 |
| roy nitzberg: Mozart in Vienna Simon P. Keefe, 2017-09-21 Comprehensive and engaging exploration of Mozart's greatest works, focussing on his dual roles as performer and composer in Vienna. |
| roy nitzberg: Dutch journal of music theory , 2008 |
| roy nitzberg: Doctoral Dissertations in Musicology Cecil Adkins, Alis Dickinson, 1996 |
| roy nitzberg: Doctoral Dissertations in Musicology , 1996 |
| roy nitzberg: The National Faculty Directory , 1983 |
| roy nitzberg: Transcript of Enrollment Books New York (N.Y.). Board of Elections, 1972 |
| roy nitzberg: Copies of Slides to be Presented for NACA Conference on Automatic Stability and Control of Aircraft, Ames Aeronautical Laboratory, Moffett Field, Calif., March 29 and 30, 1955 United States. National Advisory Committee for Aeronautics, 1955 |
| roy nitzberg: Learning with Nested Generalized Exemplars Steven L. Salzberg, 2012-12-06 Machine Learning is one of the oldest and most intriguing areas of Ar tificial Intelligence. From the moment that computer visionaries first began to conceive the potential for general-purpose symbolic computa tion, the concept of a machine that could learn by itself has been an ever present goal. Today, although there have been many implemented com puter programs that can be said to learn, we are still far from achieving the lofty visions of self-organizing automata that spring to mind when we think of machine learning. We have established some base camps and scaled some of the foothills of this epic intellectual adventure, but we are still far from the lofty peaks that the imagination conjures up. Nevertheless, a solid foundation of theory and technique has begun to develop around a variety of specialized learning tasks. Such tasks in clude discovery of optimal or effective parameter settings for controlling processes, automatic acquisition or refinement of rules for controlling behavior in rule-driven systems, and automatic classification and di agnosis of items on the basis of their features. Contributions include algorithms for optimal parameter estimation, feedback and adaptation algorithms, strategies for credit/blame assignment, techniques for rule and category acquisition, theoretical results dealing with learnability of various classes by formal automata, and empirical investigations of the abilities of many different learning algorithms in a diversity of applica tion areas. |
| roy nitzberg: The Blue and Gold ... , 1952 |
| roy nitzberg: Official Gazette of the United States Patent and Trademark Office , 1987 |
| roy nitzberg: Monthly Catalog of United States Government Publications , 1971 |
| roy nitzberg: Icing Protection for a Turboject Transport Airplane: Heating Requirements, Methods of Protection, and Performance Penalties Thomas F. Gelder, 1953 The heating requirements for several methods of icing protection for a typical turbojet transport airplane operating over a probable range of icing conditions are evaluated, and the airplane performance penalties associated with providing this protection from various energy source are assessed. Continuous heating requirements and airplane penalties for the turbojet transport are considered considerably increased over those for lower-speed aircraft. Heating requirements can be substantially reduced by use of a cyclic de-icing system and choice of the proper energy source. |
| roy nitzberg: Separation of Flow Paul K. Chang, 2014-06-28 Interdisciplinary and Advanced Topics in Science and Engineering, Volume 3: Separation of Flow presents the problem of the separation of fluid flow. This book provides information covering the fields of basic physical processes, analyses, and experiments concerning flow separation. Organized into 12 chapters, this volume begins with an overview of the flow separation on the body surface as discusses in various classical examples. This text then examines the analytical and experimental results of the laminar boundary layer of steady, two-dimensional flows in the subsonic speed range. Other chapters consider the study of flow separation on the two-dimensional body, flow separation on three-dimensional body shape and particularly on bodies of revolution. This book discusses as well the analytical solutions of the unsteady flow separation. The final chapter deals with the purpose of separation flow control to raise efficiency or to enhance the performance of vehicles and fluid machineries involving various engineering applications. This book is a valuable resource for engineers. |
| roy nitzberg: Technical Note - National Advisory Committee for Aeronautics United States. National Advisory Committee for Aeronautics, 1956 |
| roy nitzberg: Transcript of the Enrollment Books New York (N.Y.). Board of Elections, 1927 |
| roy nitzberg: Journal of the Chemical Society , 1916 |
Roy - Wikipedia
Roy or Roi is a masculine given name and a family surname with varied origins. Coat of arms of Le Roy, Normandy. Bibliothèque nationale de France.
Roy City, UT
Jun 10, 2025 · Municipal Center 801-774-1000 Municipal Center Hours Monday - Thursday 8:00 a.m. to 5:00 p.m. Friday 8:00 a.m. to Noon Aquatic Center 801-774-8590
Roy - Name Meaning, What does Roy mean? - Think Baby Names
Roy as a boys' name is pronounced roy. It is of Irish and Gaelic origin, and the meaning of Roy is "red". As a short form of names like Leroy, Roy is also a form of the Old French term roi, …
Roy Name, Origin, Meaning, History, And Popularity - MomJunction
May 7, 2024 · Roy is an Anglicized variant of the Scottish Gaelic and Irish nickname Ruadh, which means ‘red.’ Roy may also be a derivation of the Norman word “Roy,” which means …
Meaning, origin and history of the name Roy - Behind the Name
Oct 6, 2024 · Anglicized form of Ruadh. A notable bearer was the Scottish outlaw and folk hero Rob Roy (1671-1734). It is often associated with French roi "king". Name Days?
Roy - Baby Name Meaning, Origin, and Popularity for a Boy ...
Jun 8, 2025 · Roy is a boy's name of French, Celtic origin meaning "king or red-haired". Roy is the 541 ranked male name by popularity.
Roy - Name Meaning and Origin
The name Roy is of Scottish origin and is derived from the Gaelic word "ruadh," meaning "red." It is often associated with the color red or red-haired individuals. Roy is a strong and masculine …
Roy - Wiktionary, the free dictionary
Feb 23, 2025 · Roy (countable and uncountable, plural Roys) A male given name from Scottish Gaelic.
Roy - Name Meaning, Origin, Popularity, and Related Names
Roy is a short form of Roland and a variation of Ruadh. The name is of Irish and Germanic origin and comes from the following roots: (RUADH) and (REGINWALD / RAGINOALD). Where is …
Roy (2015) - IMDb
Roy: Directed by Vikramjit Singh. With Arjun Rampal, Jacqueline Fernandez, Ranbir Kapoor, Barun Chanda. Successful film-maker Kabir meets with Ayesha and falls in love. He suffers a …
Roy - Wikipedia
Roy or Roi is a masculine given name and a family surname with varied origins. Coat of arms of Le Roy, Normandy. Bibliothèque nationale de France.
Roy City, UT
Jun 10, 2025 · Municipal Center 801-774-1000 Municipal Center Hours Monday - Thursday 8:00 a.m. to 5:00 p.m. Friday 8:00 a.m. to Noon Aquatic Center 801-774-8590
Roy - Name Meaning, What does Roy mean? - Think Baby Names
Roy as a boys' name is pronounced roy. It is of Irish and Gaelic origin, and the meaning of Roy is "red". As a short form of names like Leroy, Roy is also a form of the Old French term roi, …
Roy Name, Origin, Meaning, History, And Popularity - MomJunction
May 7, 2024 · Roy is an Anglicized variant of the Scottish Gaelic and Irish nickname Ruadh, which means ‘red.’ Roy may also be a derivation of the Norman word “Roy,” which means …
Meaning, origin and history of the name Roy - Behind the Name
Oct 6, 2024 · Anglicized form of Ruadh. A notable bearer was the Scottish outlaw and folk hero Rob Roy (1671-1734). It is often associated with French roi "king". Name Days?
Roy - Baby Name Meaning, Origin, and Popularity for a Boy ...
Jun 8, 2025 · Roy is a boy's name of French, Celtic origin meaning "king or red-haired". Roy is the 541 ranked male name by popularity.
Roy - Name Meaning and Origin
The name Roy is of Scottish origin and is derived from the Gaelic word "ruadh," meaning "red." It is often associated with the color red or red-haired individuals. Roy is a strong and masculine …
Roy - Wiktionary, the free dictionary
Feb 23, 2025 · Roy (countable and uncountable, plural Roys) A male given name from Scottish Gaelic.
Roy - Name Meaning, Origin, Popularity, and Related Names
Roy is a short form of Roland and a variation of Ruadh. The name is of Irish and Germanic origin and comes from the following roots: (RUADH) and (REGINWALD / RAGINOALD). Where is …
Roy (2015) - IMDb
Roy: Directed by Vikramjit Singh. With Arjun Rampal, Jacqueline Fernandez, Ranbir Kapoor, Barun Chanda. Successful film-maker Kabir meets with Ayesha and falls in love. He suffers a …
