Ansgar Heyer

Changing Gears – >Changing Gears - On the perception and production of metric modulations

In the case of tempo changes in music, it is possible to make these changes by reinterpreting the previous metre. Here, a certain pulse level within the metric hierarchy becomes a pivot, i.e. a pulse level of reinterpretation, as it can be interpreted in both the old and the new tempo. In this way, for example, a new tempo can be derived from the old one or an existing meter can be re-contextualised.

Due to these similarities to the technique of tonal modulation, the term metric modulation is used for this. For example, the quarter notes within a 4/4-time signature can be reinterpreted as the new dotted quarter notes within a 6/8-time signature, whereby the perceived pulse level remains the same speed, but the new eighth notes are 33% faster than in the old tempo.

Despite their prevalence in pop, rock and jazz, among others, metric modulations are an area little researched  by musicology. This dissertation aims to close this gap and at the same time contribute to current issues in rhythm research. For this purpose, after an initial theoretical systematisation of metric modulations and their application, the general conditions and limitations of their perception and then the effects in relation to concepts such as groove or PLUMM are empirically examined. In a final step, the production of metric modulation is investigated with regard to further aspects such as microtiming.

Janne Schneider

Alltagsmusik in Leipzig 1880 bis 1939 (Everyday Music in Leipzig 1880 to 1939)

Around 1900, Leipzig was characterised by enormous population growth, industrialisation and the emergence of mass media. The First World War and its political aftermath, as well as technological innovations such as radio and social conflicts such as the women's and labour movements, changed people's lives and, according to my thesis, their everyday musical practices.

By analysing historical newspapers, telephone directories, city guides, periodicals and other archive sources, I hope to gain insights into the legal and political conditions, locations, repertoires, per-formers and audiences of 'light entertainment'. The aim of my work is to fill a gap in the urban history of Leipzig and to make a contribution to the study of popular culture in small and medium-sized towns.

Jin Zhang

Japanese Fusion Jazz. Musical Style and Cultural Context

Japanese music has developed under the influence of East Asian culture for a long time. However, in modern times, especially after World War II, as an imported music form, jazz has occupied a place in the music market in Japan and has a wide range of influence in a relatively short time. Nowadays, Japan is sitting on the most fertile ground for the development of jazz in Asia. More precisely, through nearly 100 years of uninterrupted exploration of jazz, Japanese jazz has formed the features of professionalism, marketization, and civilianization. Japan has established itself in the style of jazz, especially fusion jazz, which is usually called “J-Fusion”. This dissertation project will investigate Japanese fusion jazz music, focus on its composition, improvisation, and arrangement, assisted by computer analysis and visualizing to carry out the Japanese fusion jazz’s unique characteristics, analyze and sort out the influence and vicissitudes of fusion jazz on the history of Japanese music culture, and research and explore the impact of Japanese fusion jazz in other Asian countries.