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dc.contributor.advisorYust, Jasonen_US
dc.contributor.authorBenoit, Hannahen_US
dc.date.accessioned2019-06-25T14:30:08Z
dc.date.available2019-06-25T14:30:08Z
dc.date.issued2019
dc.identifier.urihttps://hdl.handle.net/2144/36041
dc.description.abstractMaximal evenness was first introduced in the music theory domain by John Clough and Jack Douthett. Later, the concept was explored by others such as Dmitri Tymoczko and Richard Cohn. Although maximal evenness was first explored with respect to pitch-classes, the concept can be understood in the rhythmic domain. An explanation of voice-leading space can be found here to create a conceptual foundation before departing to the implications of maximal evenness on rhythm. This thesis will then explore the concept further by exploring music from Steve Reich and György Ligeti to demonstrate the applicability and deeper understanding of the concept.en_US
dc.language.isoen_US
dc.rightsAttribution 4.0 Internationalen_US
dc.rights.urihttp://creativecommons.org/licenses/by/4.0/
dc.subjectMusic theoryen_US
dc.subjectLigeti, Györgyen_US
dc.subjectMaximal evennessen_US
dc.subjectMusic theoryen_US
dc.subjectRhythmic voice leadingen_US
dc.subjectSteve Reichen_US
dc.titleRhythmic maximal evenness: rhythm in voice-leading spaceen_US
dc.typeThesis/Dissertationen_US
dc.date.updated2019-06-04T01:06:21Z
etd.degree.nameMaster of Musicen_US
etd.degree.levelmastersen_US
etd.degree.disciplineMusic Theoryen_US
etd.degree.grantorBoston Universityen_US


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Attribution 4.0 International
Except where otherwise noted, this item's license is described as Attribution 4.0 International