{"id":1636,"date":"2013-10-18T12:29:45","date_gmt":"2013-10-18T11:29:45","guid":{"rendered":"http:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/?page_id=1636"},"modified":"2016-09-27T10:06:37","modified_gmt":"2016-09-27T09:06:37","slug":"sample-essay-titles","status":"publish","type":"page","link":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/assessments\/essay\/sample-essay-titles\/","title":{"rendered":"Sample Essay Titles"},"content":{"rendered":"\n\n\n\n
Listed below are the essay titles from the last delivery of Music of the Spheres by way of example.<\/td>\n<\/tr>\n
\n
    \n
  • The role of perception in process-based music<\/li>\n
  • Cantus in Memorium Benjamin Britten<\/em> by Arvo P\u00e4rt and the employment of prolation canon form<\/li>\n
  • Pitch symmetry in Webern’s op. 27<\/li>\n
  • Stockhausen\u2019s Samstag aus Licht<\/em>: Time and music<\/li>\n
  • Process as input, pro cess as output: compositional approaches in the music of Steve Reich<\/li>\n
  • The application of the Fibonacci series and the Golden Section in Bart\u00f3k’s Music for Strings, Percussion and Celesta<\/em><\/li>\n
  • The role of notation in Cage’s composition aesthetic<\/li>\n
  • Proportional relationships between Debussy’s La Mer<\/em> and Hokusai’s The Great Wave<\/em><\/li>\n
  • Form as process in the rhythmic modes of medieval and early music<\/li>\n
  • Gesture and texture as a forming principle in G\u00e9rard Grisey’s Partiels<\/em><\/li>\n
  • Addition and subtraction as formal structuring process in Glass’s Two Pages<\/em> and Rzewski’s Les Moutons de Panurge<\/em><\/li>\n
  • Aronofsky’s Pi<\/em>: The Fibonacci sequence, technology and consciousness<\/li>\n
  • Colour as a structural determinant in Messiaen’s Chronochromie<\/em><\/li>\n
  • Symmetry in Bach’s A Musical Offering<\/em><\/li>\n
  • Pink Floyd’s experiments in mobile colour and music: towards the development of an aesthetic<\/li>\n
  • Rhythmical structures in Reich’s Six Pianos<\/em><\/li>\n
  • The use of organisational systems in generative music with reference to Brian Eno\u2019s Discreet Music<\/i><\/li>\n
  • The application of Golden Section and the Fibonacci Sequence in the music of B\u00e9la Bart\u00f3k<\/li>\n
  • Form and process in John Cage\u2019s Imaginary Landscape No. 4<\/i><\/li>\n
  • The application of form as process within Brian Eno\u2019s Fullness of Wind<\/i><\/li>\n
  • The recycling and dissolving resonant form of [Alvin Lucier\u2019s] I am sitting in a room<\/i><\/li>\n
  • Form and moment-forming: an examination of the application of Form as Process in Karlheinz Stockhausen\u2019s Mikrophonie II<\/i><\/li>\n
  • Stravinsky\u2019s employment of rhythm on The Rite of Spring<\/i><\/li>\n
  • Form and process in Alvin Lucier\u2019s I am sitting in a room<\/i><\/li>\n
  • The Golden Ratio and Fibonacci Sequence in relation to Bart\u00f3k\u2019s Sonata for Two Pianos and Percussion<\/i><\/li>\n
  • Form as process in Music in Similar Motion<\/i> by Philip Glass<\/li>\n
  • Crystals as a sound organisation technique used by Var\u00e8se with specific reference to Density 21.5<\/i> and the first movement of Octandre<\/i><\/li>\n
  • Structure and form in the graphic scores of Morton Feldman<\/li>\n
  • The use of game theory as a choice-based organisational system in Iannis Xenakis\u2019 Strat\u00e9gie<\/i><\/li>\n
  • Symmetry as a compositional device in J. S. Bach\u2019s Musical Offering<\/i><\/li>\n
  • Algorithmic processes in Xenakis\u2019 La L\u00e9gende D\u2019Eer<\/i><\/li>\n
  • Form as process in Steve Reich\u2019s music between 1965-1969<\/li>\n
  • Steve Reich – Form as process: Immediate rhythmic change in Clapping Music<\/i><\/li>\n
  • The Realisation of Process in Steve Reich\u2019s Piano Phase\/Marimba Phase<\/i>: a Comparative Analysis<\/li>\n
  • A comparative analysis of the application of process in Steve Reich\u2019s Pendulum Music <\/i>and Drumming<\/i><\/li>\n
  • Mozart and Mathematics \u2013 The Golden Ratio<\/li>\n
  • Steve Reich: Different Trains <\/i>\u2013 Music as a Gradual Process<\/li>\n
  • An exploration into the use of canon and fugue as structural devices in Bach\u2019s Musical Offering<\/i><\/li>\n
  • Form as process in Philip Glass\u2019s composition Two Pages<\/i><\/li>\n
  • Music as process in Terry Riley\u2019s In C<\/i><\/li>\n
  • The use of Golden Section in Debussy\u2019s prelude Ce qu\u2019a vu le vent d\u2019ouest<\/i><\/li>\n
  • An exploration of form as a gradual process in James Tenney\u2019s Chromatic Canon<\/i><\/li>\n
  • Form as Process in Steve Reich\u2019s Piano Phase<\/i><\/li>\n
  • The application of non-musical organisational systems in Avro P\u00e4rt\u2019s Cantus in Memory of Benjamin Britten<\/i><\/li>\n
  • Processes of indeterminacy in John Cage\u2019s Imaginary Landscape No. 4<\/i><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

    Listed below are the essay titles from the last delivery of Music of the Spheres by way of example. The role of perception in process-based music Cantus in Memorium Benjamin Britten by Arvo P\u00e4rt and the employment of prolation canon form Pitch symmetry in Webern’s op. 27 Stockhausen\u2019s Samstag aus Licht: Time and music Process […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1477,"menu_order":2,"comment_status":"open","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":"","_links_to":"","_links_to_target":""},"_links":{"self":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/pages\/1636"}],"collection":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/comments?post=1636"}],"version-history":[{"count":9,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/pages\/1636\/revisions"}],"predecessor-version":[{"id":1991,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/pages\/1636\/revisions\/1991"}],"up":[{"embeddable":true,"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/pages\/1477"}],"wp:attachment":[{"href":"https:\/\/www.paulj.myzen.co.uk\/blog\/teaching\/spheres\/wp-json\/wp\/v2\/media?parent=1636"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}