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Nonlinear Time Dallapiccola Diss Final ON THE POETICS OF NONLINEAR TIME: DALLAPICCOLA’S CANTI DI LIBERAZIONE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Sabrina R. Clarke Diploma Date May 2016 Examining Committee Members: Cynthia Folio, Advisory Chair, Music Studies (Theory) Maurice Wright, Music Studies (Composition) Michael Klein, Music Studies (Theory) Brian Alegant, External Member, Oberlin Conservatory ! © Copyright 2016 by Sabrina Clarke All Rights Reserved ii ! ABSTRACT The final piece of Dallapiccola’s “protest triptych” responding to Mussolinian fascism, Canti di Liberazione (1955) shows Dallapiccola’s abiding interest in author James Joyce’s work through its literary-inspired “simultaneity” and compositional strategies that suggest mixed temporalities (diverse temporal modes). This connection has significant implications on both the temporal and narrative forces at play within the work. Incorporating the work of philosophers such as Bergson and Adorno, I situate nonlinearity within the context of twentieth-century cultural life. Following Kern, I discuss the juxtaposition of distinct temporalities (simultaneity) in work such as Joyce’s Ulysses, which Dallapiccola adored, in addition to providing an overview of simultaneity in music. Next, I draw from Kramer and Reiner in examining the manifestations of linearity and nonlinearity in music. I explain how intertextuality has nonlinear implications and invites hermeneutic interpretation. Following Brown, I identify different types of symbolism and quotation in the work. Motivic elements such as the BACH cryptogram, musical references to Canti di Prigionia and Il Prigioniero, and structural symbolism such as palindromic gestures, are all crucial components of Liberazione’s unique temporal nexus. I explain how Dallapiccola’s intertextuality and compositional devices (such as retrograde, cross-partitioning, motivic recurrence, and rhythmic figuration) parallel Joyce’s techniques in Ulysses. Finally, I present a temporal analysis of Liberazione. Drawing from Kramer, I show how characteristics such as stepwise pitch relationships, homophony, and triadic gestures suggest linearity, while pedal points, “floating rhythm,” proportions, and polarity iii ! present nonlinearity. Moreover, I demonstrate how mixed temporalities (more than one temporal mode) operate within the work, and how linearity and nonlinearity exist at different structural levels. I explain how the recurring 01 dyad—a motivic minor second or major seventh—also manifests in the background stepwise descent of the work (F# to F), subverting the narrative transcendence of the conclusion. Ultimately, I categorize the work as an example of Kramer’s multiply-directed linear time, given its structural pitch connections and goal-directed teleology. iv ! ACKNOWLEDGMENTS So many friends, colleagues, professors, and family members have helped me to complete this dissertation and program of study, and I cannot express my gratitude enough. I am so grateful to Dr. Cynthia Folio for her time, energy, encouragement, and dedication. My committee, Professors Maurice Wright, Michael Klein, and Brian Alegant, have provided both careful insight and thought-provoking questions, and I am so thankful for their guidance. To the Department of Music Studies at the Boyer College of Music, Temple University, thank you for the many opportunities I have had to grow and thrive as a scholar. To everyone at the Archivio Contemporaneo Bonsanti in Florence, who were so helpful in my research, thank you. I would also like to thank Alessandro Savasta at Edizioni Suvini Zerboni (Milan, Italy) for permission to reprint musical examples of Canti di Liberazione in this dissertation. Thank you to my family, friends, colleagues, and everyone who has spent a few minutes listening to me ramble about Dallapiccola. Though my dog cannot read, I am grateful for the countless hours he spent at my side as I wrote this dissertation. Lastly, I could not have done this without the person whose humor and encouragement kept me going. To Daniel, thank you. v ! TABLE OF CONTENTS Page ABSTRACT ....................................................................................................................... iii ACKNOWLEDGMENTS .................................................................................................. v LIST OF TABLES .............................................................................................................. x LIST OF FIGURES ........................................................................................................... xi CHAPTER 1. LUIGI DALLAPICCOLA AND MUSICAL TIME I. Introduction ......................................................................................................... 1 II. Biography A. Early life ....................................................................................................... 5 B. Introduction to Schoenberg .......................................................................... 6 C. Wartime and the protest triptych .................................................................. 8 III. Dallapiccola’s Musical Aesthetic A. Intertextuality ............................................................................................. 12 B. Literary influences ...................................................................................... 17 IV. Theories of Musical Time A. Bergson, Husserl, and the distinction between public and private time ................................................................................................................. 29 B. Simultaneity ............................................................................................... 32 C. Cumulative listening .................................................................................. 35 D. Linear vs. nonlinear time in music ............................................................. 36 vi ! E. Multiply-directed linear time and nondirected linear time ......................... 39 2. SYMBOLISM AND TEMPORAL STRATEGIES I. Creative ideology ............................................................................................... 42 II. Symbolism A. Structural symbolism ................................................................................. 44 B. Rhythmic symbolism .................................................................................. 45 C. Quotation .................................................................................................... 45 D. Self-quotation ............................................................................................. 51 III. Compositional strategies A. Rhythm and meter ...................................................................................... 56 B. Numbers and proportions ........................................................................... 60 C. Contrapuntal strategies ............................................................................... 62 IV. Canti di Liberazione: an overview ................................................................. 64 3. ANALYSIS OF CANTI DI LIBERAZIONE, I I. The row and its subsets ...................................................................................... 71 II. Analytical methods ........................................................................................... 74 III. Analysis A. Discrete row segments ......................................................................... 76 B. Linear row statements .......................................................................... 82 C. Cross-partitions .................................................................................... 85 D. Dyads ................................................................................................... 87 E. Elision ................................................................................................... 90 F. Floating rhythm .................................................................................... 93 vii ! G. Proportions and durational layering ..................................................... 95 H. Derived aggregates ............................................................................... 97 I. BACH motive ........................................................................................ 99 J. Polyphonic and canonic techniques .................................................... 102 K. Palindromes and structural symmetry ................................................ 104 L. Expansion and compression figures ................................................... 106 4. ANALYSIS OF CANTI DI LIBERAZIONE, II I. Form and overview .......................................................................................... 109 II. Analysis A. Floating rhythm .................................................................................. 110 B. Choral pedal notes .............................................................................. 111 C. Structural dyads .................................................................................. 113 D. Metrical cells ...................................................................................... 115 E. Durational layering ............................................................................. 119 F. Polyphonic or canonic techniques ...................................................... 121 G. Juxtaposed textures ...........................................................................
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