DOCSLIB.ORG

This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ The musical language of Elliott Carter : analysis of selected works from the transitional period (1945-55). King, S J T The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 THE MUSICAL LANGUAGE OF ELLIOTT CARTER: ANALYSIS OF SELECTED WORKS FROM THE TRANSITIONAL PERIOD (1945-55) Thesis submitted in partial fulfilment of the examination requirements for the degree of DOCTOR OF PHILOSOPHY 1998 S.LT. King (King's College London) S.J.T.King King's College, London Description of PhD thesis: THE MUSICAL LANGUAGE OF ELLIOTT CARTER: ANALYSIS OF SELECTED WORKS FROM THE TRANSITIONAL PERIOD (1945-55) The music of Elliott Carter is held in high regard, but is noted for its complexity. Recent analytical studies have attempted to explain Carter's compositional method, often taking the composer's own writings as a starting point. These studies have concentrated on works from the later part of his career, which appear to be the products of consistently applied ideas and techniques. This "mature style" may be regarded as beginning with the composition of the Second String Quartet (1959). The purpose of the present study is to complement work on the later music by examining the works of the ten-year period from the Piano Sonata (1945) to the Variations for Orchestra (1955), during which the composer's style underwent radical change from "American neoclassical" to "avant-garde". The study begins with a discussion of the historical and aesthetic context impinging upon Carter's work in the earlier part of his career, including the concepts of neoclassicism, modernism and populism. This discussion will explore the reasons for the composer's dissatisfaction with the musical idiom of his pre-1945 works. This is followed by a chapter placing the study of Carter's work in the context of analytical studies of twentieth-centuiy music, particularly those which examine the notion of transitional music. The purpose of this is to identify those analytical methods and techniques appropriate to the repertoire under consideration. The methods discussed here will play a part in the analyses which follow. These begin with an investigation of various aspects of Carter's technique, using relatively brief examples, and culminate in studies of complete movements, namely the first movement of the Piano Sonata, the second movement of the Cello Sonata (1948) and the first movement of the Sonata for Flute, Oboe, Cello and Harpsichord (1952). 2 ACKNOWLEDGEMENTS During my initial period of research, I received the following financial support, for which I am extremely grateful: a grant from the British Academy, a Studentship from the Music Department at King's College London and grants from the Worshipful Company of Musicians and the Sir Richard Stapley Memorial Trust. The interest and support of colleagues, contemporaries and members of staff, first at King's College London and later at Chetham's School of Music, have been invaluable, but my special thanks are due to two individuals. Dr.Philip Grange first introduced me to the music of Elliott Carter as a compositional model and a subject for analysis. Professor Arnold Whittall supervised my work, broadened my analytical outlook and made innumerable suggestions for the improvement of this thesis. Finally I must thank my wife Nicola and other members of my family for their assistance, perseverance and tolerance during the long gestation of this work. 3 CONTENTS Abstract 2 Acknowledgements 3 List of Tables 8 List of Musical Examples 9 Part One: Background Issues 13 Chapter 1: Introduction 14 Chapter 2: Historical and Aesthetic Background 21 1. Expressionism and Neoclassicism 22 2. Modernism and Conservatism 28 3. Elitism and Populism 36 4. Cosmopolitanism and Americanism 43 Chapter 3: Analytical Context 47 1. Analysis of Transitional Music 47 2. Analysis of Neoclassical Music 56 3. Analysis of Carter's Music 64 Part Two: Elements of Carter's Musical Language in the 70 Transitional Period Chapter 4: Keys, Modes, Fields 71 1. Diatonic fields 71 (a) The Rose Family 77 (b) Piano Sonata, second movement, bb. 1-26 81 (c) Piano Sonata, second movement, bb.27-52 84 2. Chromatic complementation 87 Chapter 5: Chords and/or Sets 89 1. A note on pitch-class set genera 93 2. "Key-chords" 96 3. Diatonic sets 100 (a)The Rose Family 103 (b) Dust of Snow 106 (c) Pastoral, bb. 1-45 109 4. Non-diatonic harmonic principles 113 (a) Triadic alteration and superimposition 114 (b) Combination of intervals 118 4 (i) Piano Sonata, second movement, bb. 1-26 121 (ii) Cello Sonata, second movement, bb. 91-1 12 123 (iii) Eight Etudes and a Fantasy, Etude 1 123 (c) The Kh(6-20) subcomplex 124 (i) Cello Sonata, first movement 126 (ii) Quartet Sonata, first movement 129 (d) The all-interval tetrachords 130 Chapter 6: Voice-leading and Linear Motion 134 1. Foreground 136 (a) The tonic-dominant relationship 137 The Neighbour Note 141 (b) (c) Linear Progression 145 (d) Arpeggiation 149 (e) Octaves 153 2. Middleground and Background 156 Chapter 7: Themes, Motives, Rows 160 1. Introduction 160 2. Exposition 168 (a) The Rose Family, bb.3-15 169 (b) Piano Sonata, second movement, bb. 1-26 170 (c) Piano Sonata, first movement, bb. 1-32 172 (d) Quartet Sonata, second movement, bb.69-99 174 3. Development 178 (a) Interval expansion and contraction 178 (i) Piano Sonata, first movement 178 (ii) Piano Sonata, second movement 179 (iii) Cello Sonata, second and fourth movements 180 (iv) First String Quartet, Part ifi 181 (v) Quartet Sonata, first movement 181 (b) Polyrhythmic combination 182 (i) First String Quartet, Part 182 ifi (ii) Quartet Sonata, third movement 183 (c) Acceleration and Deceleration 183 (i) First String Quartet, Part ifi 184 (ii) Variations for Orchestra 185 (d) Quasi-serial procedures 186 (i) Piano Sonata, second movement, bb. 104-329 187 (ii) Cello Sonata, first movement 188 (iii) Quartet Sonata, third movement 188 4. Recapitulation 189 5 Part Three: Analytical Studies 193 Chapter 8: Piano Sonata, first movement 194 1. Populism and other influences 195 2. "Sonata Form" 201 3. Harmonic materials: structural consequences 207 4. Exposition, bb. 1-82 212 (a) Bars 1-32 213 (i) Maestoso bb. 1-14 214 (ii) Legato correvoler.bb.14-23 217 (iii) A tempo, maestoso bb.24-32 219 (b) Scorrevo1e bb.32-82 221 (i) Register 221 (ii) Linear motion 223 (iii) Tonality and diatonic field 227 (iv) Thematic process 230 (c) Summary 233 Chapter 9: Sonata for Cello and Piano, second movement 235 1. Genre and Character 235 2. Form and Thematic Process 239 A (bb.1-57) 239 B (bb.57-129) 242 A' (bb.130-213) 243 3. Harmony, Tonality and Sets 247 4. Conclusion 261 Chapter 10: Sonata for Flute, Oboe, Cello and Harpsichord, first movement 262 1. Introduction 262 2. Form: processes 263 (a) Dynamics 265 (b)Pulse 267 (c) Textural continuity, density and register 270 (d) Summary 274 3. Motivic and harmonic material 276 (a) Rhythmic and pitch-contour cells 277 (b) The "key-chord" and its relatives 279 4. Large-scale pitch-organization 285 (a) Thematic recall 285 (b) Pitch fields 286 (c) Linear and registral connections 287 5. Conclusion 288 Chapter 11: Conclusion 290 6 Appendices 293 Appendix 1: Cross-Reference of Carter's Listing of Three- to Six-Note chords with Forte's List of Prime Forms of Pitch-Class Sets 293 Appendix 2: Classification of Diatonic Sets 297 Appendix 3: Formation of Tetrachords from pairs of non-overlapping dyads 298 Bibliography 304 7 LIST OF TABLES Table 2.1 Aesthetic axes 21 3. 1 Whole-tone invariance/dominant prolongation in Scriabin 51 5.1 Similarity relations between pentachords appearing in The Rose Family 105 5.2 Similarity relations between "quasi-seventh" chords 116 5.3 Comparison of interval vectors for tetrachords formed from id +ic3 and ic3+ic5 120 6.1 Intervallic structure of Cello Sonata, III, bb. 1-4 152 7.1 Acceleration of "Passacaglia" idea in String Quartet no.1, Part HI 185 7.2 Acceleration of scalic "row" idea in String Quartet no.1, Part III 186 9.1 Relationship between material in A and A' sections of Cello Sonata, II 244 9.2 Tetrachordal vocabulary of Cello Sonata, II 250 9.3 Trichordal vocabulary of Cello Sonata, II 251 9.4 Similarity relations between tetrachords in Table 9.2 253 9.5 Similarity relations between trichords in Table 9.3 254 9.6 Succession of Diatonic Fields in A section of Cello Sonata, H 257 10.1 Set-class vocabulary of Quartet Sonata, I 281 10.2 Statistical summary of trichords and tetrachords shown in Ex.10.11 284 10.3 Pitches occurring in Ex.
Load more

Recommended publications
  • Spring 2021 Course Descriptions
    PhD/DMA Programs in Music – Spring 2021 Course Descriptions MUS 81502: Performance Practice: Baroque – Professor Gwendolyn Toth This course, intended for performance majors at the doctoral level, is designed to provide students with an in-depth understanding of what performance practice means and why we study it. Specific course content includes knowledge of the conventions of musical performance during the period 1550-1800, with emphasis on the changes from Renaissance to early baroque, early baroque to high baroque, and high baroque to early classical. Students will also gain acquaintance with the development of musical instruments, music printing, and musician status, as well as changing audiences, during the time frame. First-hand sources of principal pedagogical publications of the period will be used to the extent possible. Students should gain an understanding of performance practice principles (rhetoric, phrasing, ornamentation, improvisation, instrumentation) in different periods from 1550-1800; but equally, will examine applications of performance practice in today’s modern concert world internationally through critical listening. Students should attain sufficient knowledge to run an early music ensemble/collegium or teach a beginning course on historical performance. The format of the course will include introductory lectures, extensive readings, occasional assigned practical written exercises, in-class listening and discussion, area-specific (keyboard, winds, strings, voice) papers comparing recorded modern performances, and a comprehensive final exam. MUS 71500: D.M.A. Topics (Spring) – Professor Anne Stone The second semester DMA Topics course will focus on the various types of scholarly writing encountered by performers in doctoral work and beyond. In addition to reading and analysis/discussion of writing on music from multiple genres by both scholars and performers, weekly writing assignments will include in- class writing, evaluation of classmates’ work, and ongoing work on longer assignments.
    [Show full text]
  • THE CLEVELAN ORCHESTRA California Masterwor S
    ����������������������� �������������� ��������������������������������������������� ������������������������ �������������������������������������� �������� ������������������������������� ��������������������������� ��������������������������������������������������� �������������������� ������������������������������������������������������� �������������������������� ��������������������������������������������� ������������������������ ������������������������������������������������� ���������������������������� ����������������������������� ����� ������������������������������������������������ ���������������� ���������������������������������������� ��������������������������� ���������������������������������������� ��������� ������������������������������������� ���������� ��������������� ������������� ������ ������������� ��������� ������������� ������������������ ��������������� ����������� �������������������������������� ����������������� ����� �������� �������������� ��������� ���������������������� Welcome to the Cleveland Museum of Art The Cleveland Orchestra’s performances in the museum California Masterworks – Program 1 in May 2011 were a milestone event and, according to the Gartner Auditorium, The Cleveland Museum of Art Plain Dealer, among the year’s “high notes” in classical Wednesday evening, May 1, 2013, at 7:30 p.m. music. We are delighted to once again welcome The James Feddeck, conductor Cleveland Orchestra to the Cleveland Museum of Art as this groundbreaking collaboration between two of HENRY COWELL Sinfonietta
    [Show full text]
  • Concert Programdownload Pdf(349
    The University at Buffalo Department of Music and The Robert & Carol Morris Center for 21st Century Music present Stockhausen's Mantra For Two Pianos Eric Huebner and Steven Beck, pianos Sound and electronic interface design: Ryan MacEvoy McCullough Sound projection: Chris Jacobs and Ryan MacEvoy McCullough Saturday, October 14, 2017 7:30pm Lippes Concert Hall in Slee Hall PROGRAM Mantra (1970) Karlheinz Stockhausen (1928 – 2007) Program Note by Katherine Chi To say it as simply as possible, Mantra, as it stands, is a miniature of the way a galaxy is composed. When I was composing the work, I had no accessory feelings or thoughts; I knew only that I had to fulfill the mantra. And it demanded itself, it just started blossoming. As it was being constructed through me, I somehow felt that it must be a very true picture of the way the cosmos is constructed, I’ve never worked on a piece before in which I was so sure that every note I was putting down was right. And this was due to the integral systemization - the combination of the scalar idea with the idea of deriving everything from the One. It shines very strongly. - Karlheinz Stockhausen Mantra is a seminal piece of the twentieth century, a pivotal work both in the context of Stockhausen’s compositional development and a tour de force contribution to the canon of music for two pianos. It was written in 1970 in two stages: the formal skeleton was conceived in Osaka, Japan (May 1 – June 20, 1970) and the remaining work was completed in Kürten, Germany (July 10 – August 18, 1970).
    [Show full text]
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
    University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support.
    [Show full text]
  • An Original Composition for Mixed Ensemble and Rhythm, Tempo and Time in Elliott Carter‘S Figment and Shard
    ABSTRACT SPECULATIVE SPECULATIONS: AN ORIGINAL COMPOSITION FOR MIXED ENSEMBLE AND RHYTHM, TEMPO AND TIME IN ELLIOTT CARTER‘S FIGMENT AND SHARD. by Christian J. Loebs July, 2010 Director: Edward Jacobs SCHOOL OF MUSIC This thesis is composed of two parts. The first part is an original composition Speculative Speculations for flute, clarinet, piano, percussion, violin, viola and cello and was premiered November 14, 2009 at the A. J. Fletcher Recital Hall, East Carolina University. The second part is an analysis of Elliott Carter‘s use of rhythm, tempo and time in two pieces, Figment for solo cello and Shard for solo guitar. These pieces are microcosms Carter‘s style found in his larger scale works. SPECULATIVE SPECULATIONS: AN ORIGINAL COMPOSITION FOR MIXED ENSEMBLE AND RHYTHM, TEMPO AND TIME IN ELLIOTT CARTER‘S FIGMENT AND SHARD. A Thesis Presented To The Faculty of the School of Music East Carolina University In Partial Fulfillment of the Requirements for the Degree Master of Music Theory/Composition by Christian J. Loebs July, 2010 ©Copyright 2010 Christian J. Loebs SPECULATIVE SPECULATIONS: AN ORIGINAL COMPOSITION FOR MIXED ENSEMBLE AND RHYTHM TEMPO AND TIME IN ELLIOTT CARTER‘S FIGMENT AND SHARD. by Christian J. Loebs APPROVED BY: DIRECTOR OF THESIS:__________________________________________________ Edward Jacobs, DMA COMMITTEE MEMBER:__________________________________________________ Elliot Frank, DM COMMITTEE MEMBER:__________________________________________________ Marc Faris, PhD COMMITTEE MEMBERAND CHAIR OF THE DEPARTMENT OF THEORY, COMPOSTION AND MUSICOLOGY: ________________________________________________ Thomas Huener, PhD DEAN OF THE GRADUATE SCHOOL: ________________________________________________ Paul J. Gemperline, PhD This thesis is dedicated to my parents David and Susan Loebs. Thank you for everything you taught me and for encouraging me to follow my dreams.
    [Show full text]
  • Henry Brant on the Birth of Angels and Devils by Nancy Toff
    The New York Flute Club N E W S L E T T E R March 2003 A Conversation With Robert Aitken Interview by Patti Monson Patti Monson spoke with Robert Aitken by phone in January. ATTI MONSON: Could you tell us often looking for works to play with instru- about some of your most recent ments besides piano. Then there are my Pcompositions? two [1977] solo flute pieces Plainsong ROBERT AITKEN: The last work and Icicle which are quite often played, [Shadows V, a concerto for flute and and may in fact become contemporary strings, 1999] was a commission for the flute classics. From time to time Plain- Chamber Orchestra of Neuchâtel [Switzer- song is a required piece in flute contests land]. They specifically wanted a work and Icicle is often a required work for related to native peoples. At first I had entrance to French music schools. little interest in doing exactly that, but Of course extended techniques are eventually I became fascinated with the used in all these pieces, but in an unpre- idea. I think it came off rather well. It is tentious, rather natural way. I hope that not an imitation of western Indian music all are playable on every flute. Of course In Concert but the inspiration for the work came one runs into trouble if a composition is from what I had learned about the music intended for a flute with B foot and the ROBERT AITKEN, flute several years ago. It is quite a long piece, flutist does not have one. But I am really PHOTO: JOHNPHOTO: SHAW Colette Valentine, piano some 22 minutes in length, [but it] seems not very upset if a practical solution is Saturday, March 29, 2003, to hold the attention of the audience.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene ROBINSON, ALICE,MERIEL How to cite: ROBINSON, ALICE,MERIEL (2021) English Folk under the Red Flag: The Impact of Alan Bush's `Workers' Music' on 20th Century Britain's Left-Wing Music Scene , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/13924/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 English Folk under the Red Flag: The Impact of Alan Bush’s ‘Workers’ Music’ on 20 th Century Britain’s Left-Wing Music Scene Alice Robinson Abstract Workers’ music: songs to fight injustice, inequality and establish the rights of the working classes. This was a new, radical genre of music which communist composer, Alan Bush, envisioned in 1930s Britain.
    [Show full text]
  • Academiccatalog 2017.Pdf
    New England Conservatory Founded 1867 290 Huntington Avenue Boston, Massachusetts 02115 necmusic.edu (617) 585-1100 Office of Admissions (617) 585-1101 Office of the President (617) 585-1200 Office of the Provost (617) 585-1305 Office of Student Services (617) 585-1310 Office of Financial Aid (617) 585-1110 Business Office (617) 585-1220 Fax (617) 262-0500 New England Conservatory is accredited by the New England Association of Schools and Colleges. New England Conservatory does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, genetic make-up, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs or other Conservatory-sponsored activities. For more information, see the Policy Sections found in the NEC Student Handbook and Employee Handbook. Edited by Suzanne Hegland, June 2016. #e information herein is subject to change and amendment without notice. Table of Contents 2-3 College Administrative Personnel 4-9 College Faculty 10-11 Academic Calendar 13-57 Academic Regulations and Information 59-61 Health Services and Residence Hall Information 63-69 Financial Information 71-85 Undergraduate Programs of Study Bachelor of Music Undergraduate Diploma Undergraduate Minors (Bachelor of Music) 87 Music-in-Education Concentration 89-105 Graduate Programs of Study Master of Music Vocal Pedagogy Concentration Graduate Diploma Professional String Quartet Training Program Professional
    [Show full text]
  • Here Center and Performed There for 20 Seasons
    Merkin Hall at Kaufman Music Center Mindy Kaufman joined the New York Phil- music from Mozart concerti to Brazilian samba Sunday, November 17, 2019 at 8 pm harmonic in 1979 at age 22, after playing for worldwide. Paula Robison was a founding artist three years with the Rochester Philharmonic. She member of the Chamber Music Society of Lincoln graduated from the Eastman School of Music, where Center and performed there for 20 seasons. The New York Flute Club she studied with Walfrid Kujala, James Galway, She holds the Donna Hieken Flute Chair at New founded 1920 by Georges Barrère and Bonita Boyd. Ms. Kaufman has performed as England Conservatory. a soloist with the New York Philharmonic and for one season substituted as principal flute with the Nancy Toff is the author of The Development of Centennial Gala Concert Milwaukee Symphony. Ms. Kaufman has recorded the Modern Flute, The Flute Book, and Monarch more than 40 films. of the Flute: The Life of Georges Barrère, and was curator of the exhibition “Georges Barrère and the GEORGES BARRÈRE Nocturne (1913) Robert Langevin joined the New York Phil- Flute in America” at the New York Public Library (1876-1944) ROBERT LANGEVIN, flute harmonic as principal flute in 2001. He was for the Performing Arts, for which she wrote the BRYAN WAGORN, piano previously principal flute of the Pittsburgh Symphony catalog. She received the Dena Epstein Award Orchestra and taught at Duquesne University. for Archival and Library Research in American ELDIN BURTON Sonatina (1948) He served as associate principal of the Montreal Music from the Music Library Association and the (1913-1981) Allegretto grazioso Symphony Orchestra for 13 years and as a member National Flute Association’s 2012 Distinguished Andantino Sognando of Musica Camerata Montreal and l’Ensemble de Service Award.
    [Show full text]
  • The Study of the Relationship Between Arnold Schoenberg and Wassily
    THE STUDY OF THE RELATIONSHIP BETWEEN ARNOLD SCHOENBERG AND WASSILY KANDINSKY DURING SCHOENBERG’S EXPRESSIONIST PERIOD D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sohee Kim, B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Donald Harris, Advisor Professor Jan Radzynski Professor Arved Mark Ashby Copyright by Sohee Kim 2010 ABSTRACT Expressionism was a radical form of art at the start of twentieth century, totally different from previous norms of artistic expression. It is related to extremely emotional states of mind such as distress, agony, and anxiety. One of the most characteristic aspects of expressionism is the destruction of artistic boundaries in the arts. The expressionists approach the unified artistic entity with a point of view to influence the human subconscious. At that time, the expressionists were active in many arts. In this context, Wassily Kandinsky had a strong influence on Arnold Schoenberg. Schoenberg‟s attention to expressionism in music is related to personal tragedies such as his marital crisis. Schoenberg solved the issues of extremely emotional content with atonality, and devoted himself to painting works such as „Visions‟ that show his anger and uneasiness. He focused on the expression of psychological depth related to Unconscious. Both Schoenberg and Kandinsky gained their most significant artistic development almost at the same time while struggling to find their own voices, that is, their inner necessity, within an indifferent social environment. Both men were also profound theorists who liked to explore all kinds of possibilities and approached human consciousness to find their visions from the inner world.
    [Show full text]
  • A Stylistic and Analytical Study of Concerto No.2 for Piano And
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 A stylistic and analytical study of Concerto No.2 for Piano and Orchestra, Op.33, by Lee Hoiby Ji-Won Mun Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Mun, Ji-Won, "A stylistic and analytical study of Concerto No.2 for Piano and Orchestra, Op.33, by Lee Hoiby" (2002). LSU Doctoral Dissertations. 1027. https://digitalcommons.lsu.edu/gradschool_dissertations/1027 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A STYLISTIC AND ANALYTICAL STUDY OF CONCERTO NO. 2 FOR PIANO AND ORCHESTRA, OP. 33, BY LEE HOIBY A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music By Ji-Won Mun B.M., Pusan National University, 1996 M.M., Louisiana State University, 1999 May 2002 ACKNOWLEDGEMENTS I wish to express my gratitude to the members of my committee--Professor Constance Carroll, Dr. Jeffrey Perry, Professor Michael Gurt, and Dr. Jennifer Hayghe--for their support throughout this project. I would especially like to thank Dr. Perry and Dr. Hayghe for providing expert advice, insightful editing, and constant encouragement.
    [Show full text]