WorldCat Identities

Parker, Mark M. (Mark Mason)

Overview
Works: 13 works in 18 publications in 1 language and 27 library holdings
Genres: Criticism, interpretation, etc  History 
Roles: Author, Arranger
Publication Timeline
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Most widely held works by Mark M Parker
Transposition and the transposed modes in late-Baroque France by Mark M Parker( )

6 editions published between 1988 and 1990 in English and held by 14 WorldCat member libraries worldwide

The spacious firmament by Mark M Parker( )

and held by 2 WorldCat member libraries worldwide

Nearer, my God to Thee : four trombones or trombone choir by Mark M Parker( )

1 edition published in 1989 and held by 1 WorldCat member library worldwide

Soloist 3( )

1 edition published in 1994 in English and held by 1 WorldCat member library worldwide

Soloist : high voice( )

in English and held by 1 WorldCat member library worldwide

Classification of pitch material in three compositions by Howard Hanson by Mark M Parker( Book )

1 edition published in 1976 in English and held by 1 WorldCat member library worldwide

Howard Hanson has acquired recognition as a conductor, educator and composer; his achievements as a theorist, however, have often been overlooked. Hanson's writings consist of the single-volume treatise Harmonic Materials of Modern Music: Resources of the Tempered Scale (Appleton-Century-Crofts. 1960). In this book the composer has attempted to reduce the tonal resources of the twelve-tone scale to a finite number of pitch sets by means of four devices: interval analysis, involution, projection and complementary sonorities. Although analyses of twentieth-century compositions using Hanson's methods do exist, apparently no attempt has been made to analyze this composer's own works via those methods. The purpose of this investigation was to perform such an analysis, in an attempt to determine to some degree the methodicity of Hanson's compositional procedure. To this end, the author selected the following works for study: Symphony no. 4 (1943), Mosaics (1958) and Symphony no. 6 (1967). Since the investigation seemingly represents the first study of its kind, the author attempted to develop theoretically and aurally valid methods by which to analyze the three pieces. He subsequently developed the following procedures, each of which corresponds to a particular textural situation: 1) analysis at each occurance of tonal material; 2) analysis on the beat; 3) analysis of all tonal material found within the limits of a single beat; 4) analysis of all tonal material that appears with a sonority in the background; 5) analysis of all tonal material from the set with which a given texture is perceived to be saturated. The author amalgamated, in an appendix, material pertinent to his analysis of the pieces; included are a measure-by-measure listing of the interval content symbols for each of the vertical sonorities, comments which clarify or explain particular analytical procedures, and observations relative to individual sections. In order to identify the particular pitch sets which the given symbols represent, the author has indicated the starting pitch (described as the generating tone) for each of the sonorities. The listed observations are of three types: 1) frequencies or sonorities and their involutions; 2) projections (tertian and whole step-half step projections appear in addition to Hanson's pure projections); 3) complementary sonorities. The intervallic analysis of sonorities from the pieces indicated the following: the Fourth Symphony, first of all, exhibits an extensive use of the pandiatonic procedure and contains a predominance of tertian structures as background occurences; Mosaics demonstrates an increased usage of nontertian background sonorities (especially perfect fifth types), and also exhibits a disposition toward the use of techniques related to the pandiatonic procedure, whereby textures appear to be saturated with pitch sets other than diatonic scales; the Sixth Symphony, finally, seems to include the greatest number of non-tertian sonorities and also evinces a greater economy of tonal material than is observed in either of the two earlier works. Further, this piece demonstrates a procedure whereby a pitch set containing fewer than seven tones may be used as a tonal basis without conventional limitations; described as pan-projectional, the devise frequently results in perceived saturation with the tonal material from a single projection. Hanson's employment of involutions in Symphony no. 4 appears to be accidental. In Mosaics and the Sixth Symphony, however, many passages seem to exhibit the disposition for sonorities to appear either as involutions or not as involutions within a single section. The most frequent projections in Symphony no. 4 are the tertian and perfect fifth types; in Mosaics, on the other hand, projections based on the intervals of a major third, minor third and minor second occur with the greatest frequency, in accordance with the composer's description of the piece as a variation of the relationship of these intervals. With the exception of the first movement, the Sixth Symphony demonstrates an emphasis on non-tertian projections, including those based on the intervals of a perfeet fifth and a major third. Finally, complementary sonorities appear infrequently as vertical occurences in any of the works
The solid rock by Mark M Parker( )

and held by 1 WorldCat member library worldwide

Fat free jokes for fun-loving folks : lighten up America by Mark M Parker( Book )

1 edition published in 1994 in English and held by 1 WorldCat member library worldwide

Near to the heart of God : for wind quartet by Mark M Parker( )

and held by 1 WorldCat member library worldwide

Soloist : medium voice( )

in English and held by 1 WorldCat member library worldwide

Who is on the Lord's side : mixed instrumental quartet by Mark M Parker( )

1 edition published in 1999 and held by 1 WorldCat member library worldwide

Soloist 2( )

1 edition published in 1990 in English and held by 1 WorldCat member library worldwide

Come, thou fount of every blessing : mixed instrumental quintet by Mark M Parker( )

1 edition published in 1998 and held by 1 WorldCat member library worldwide

 
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Audience Level
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Audience level: 0.47 (from 0.08 for Soloist : ... to 0.85 for Fat free j ...)

Languages
English (12)