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And the String Quartet (1964) of Witold Lutoslawski An Analysis of formal determinants in the Funeral Music for String Orchestra (1958) and the String Quartet (1964) of Witold Lutoslawski Item Type text; Thesis-Reproduction (electronic) Authors Bailey, Shad Culverwell Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 16:29:47 Link to Item http://hdl.handle.net/10150/557636 AN ANALYSIS OF FORMAL DETERMINANTS IN THE FUNERAL MUSIC FOR STRING ORCHESTRA (1958) AND THE STRING QUARTET (1964) OF WITOLD LUTOSLAWSKI by Shad Culverwell Bailey A Thesis Submitted to the Faculty of. the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 19 8 1 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: J i l L z J ( APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: r h J y / E. W. MURPHY Date Professor of Music ACKNOWLEDGMENTS Profound gratitude to: My parents9 James and Berneal Culverwell, for providing the opportunity for me to pursue an early curiosity about music theory. My teacher, Josephine Clark, for directing my curiosity in a highly disciplined and progressive program. My teachers. Dr. Leonard Pearlman and Mr. William Pflugradt, for their patience and willingness to share some of their vast knowledge of twentieth century music and compositional techniques. My advisor, Mr. Pflugradt, for his guidance in the initial stages of this project. My reader and advisor, Dr. Edward Murphy, for his assistance in the revisions and final draft of this document. My husband, Robert, for his quiet and enduring encouragement. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS ................... vi ABSTRACT . , . „ ......................... - x 1 o INTRODUCTION .............. 1 Need for the Study ................... 2 Plan of the Study . ................. 3 2. FUNERAL MUSIC ....... ............................ ... 5 Formal Concerns .......... .... ..... 6 Formal Diagrams ........................... 12 Prologue and Epilogue ................... 18 Pitch . ............................. 18 Rhythm ................... 24 Timbre. ........................... 28 Dynamics .... ............. ........... 32 Texture ....................... 33 Metamorphoses ............ 35 Pitch ......................... 35 Rhythm . ..................... 43 Timbre . .............. 48 Dynamics ................ 48 Texture ........................... 48 A p o g e e .............................. 50 Pitch .......................................... 50 Rhythm .............................. ........ 51 Timbre ..................... 51 Dynamics ................ 52 T e x t u r e .......... 52 Larger Formal Concerns ........ 52 Prologue and Epilogue ........... ........ 52 Metamorphoses ............... 53 Apogee ............ 54 Summary ............................... 54 3. STRING QUARTET ............ 57 Formal Concerns ........................... 60 Formal Diagrams . ................... 63 X Motive . ........................... 68 iv V TABLE OF CONTENTS— Continued Page P i t c h ........................................................................ o o e 76 Aggregates ......... ................ « 76 Tritone and minor second ............ 79 Rhythm . .......... 84 T i m b r e ........... • ............ 88 Con sordino . ..................... 88 Non vibrato .............. 89 Pizzicato............ 89 Sul Ponticello ................ 91 Glissandi . » 91 Dynamics .......... 93 Texture ..................... 93 Larger Formal Concerns ........................... 95 P i t c h ...................................... 95 R h y t h m ............................... 96 T i m b r e ......................... 96 D y n a m i c s ................ 97 Texture ................................. ..... 97 S u m m a r y ................................................... 98 CONCLUSIONS .............................. ..... 101 P i t c h ...................................... 102 Duration . ............................... 103 Timbre . ............................... 105 Intensity............................................ 106 T e x t u r e ................... 107 5. BIBLIOGRAPHY .............. - 108 LIST OF ILLUSTRATIONS Figure Page 1. Funeral Music, Twelve-note r o w ......... 5 2. Funeral Music, Transition from Prologue to Metamorphoses 7 3. Funeral Music, Transition from Metamorphoses to Apogee . 9 4. Funeral Music, Transition from Apogee to Epilogue . 11 5. Funeral Music, Prologue, Form . 13 6. Funeral Music, Metamorphoses, Form .................. 14 7. Funeral Music, Apogee, Form . ........................ 15 8. Funeral Music, Epilogue, Form . .........................17 9. Funeral Music, Prologue canon entry points ............. 19 10. Funeral Music, Epilogue canon entry points ............. 20 11. Funeral Music, Epilogue, Multiple entries on one pitch . 20 12.' Funeral Music, Epilogue, All entries on one pitch . 21 13. Funeral Music, Distribution of Prologue dyad pitches . 22 14. Funeral Music, Epilogue,' Solo row statement interrupted by c a n o n ................ .23 15. Funeral Music, Epilogue, Systematic deletion of pitches 24 16. Funeral Music, Epilogue, Measure of silence ........... 25 17. Funeral Music, Epilogue dyad durations............. 26 18. Funeral Music, Prologue dyad durations .................. 27 19. Funeral Music, Prologue, Irregular canon entry ......... 29 20. Funeral Music, Prologue and Epilogue comparative ranges 31 vi vii Figure Page 21o Funeral Music, Metamorphoses, Vertical pitch class sets 36 22o Funeral Music, Metamorphoses, Sequence . ................ 37 23o Funeral Music, Metamorphoses, Sequence ......... 38 24. Funeral Music, Metamorphoses, Inversion, Sequence and retrograde inversion •••• o0.o ...... o.- 40 25. Funeral Music, Metamorphoses, Four-part Sequence . „ . 41 26. Funeral Music, Metamorphoses, Repetition . » . 42 27o Funeral Music, Metamorphoses, Syncopation with off-beat accents .......................................44 28. Funeral Music, Metamorphoses, Off-beat accents . 45 29. Funeral Music, Metamorphoses, H e m i o l a ............. .. 47 30. Funeral Music, Metamorphoses, Range . ........... 48 31. Funeral Music, Metamorphoses, Sparse chordal accompaniment ................................... 49 32. Funeral Music, Apogee, Aggregates ...................... 50 33. Funeral Music, Apogee, Instrument ranges ............... 51 34. String Quartet, Mobile 4, Single x motive . ............61 35. String Quartet, Mobile 4, Multiple x motive ...... 61 36. String Quartet, Introductory Movement, Form ...... 64 37. String Quartet, Main Movement, O v erview ........... 64 38. String Quartet, Main Movement, F o r m ........... 68 39. String Quartet, Mobile 4, x motive delineation............69 40. String Quartet, Introductory Movement, Octave placement of x motive ............... 70 41. String Quartet, Introductory Movement, Transformed x motive . ............................ 71 viii Figure Page 42. String Quartet, Mobile 12, Transformation of x motive . 72 43. String Quartet, Mobiles 16 and 22, Transformation of x motive . ........................ 73 44. String Quartet, Mobile 38, Transformation of x motive . 74 45. String Quartet, Mobile 39, Transformation of x motive . 74 46. String Quartet, Mobile 41, Transformation of x motive . 76 47. String Quartet, Mobiles 1 and 2, Aggregate as a connecting link ........... .............. 77 48. String Quartet, Mobiles 2 and 3, Aggregate functioning as a bridge . ............................ 77 49. String Quartet, Mobile 7, Fixed aggregate pitches for each instrument ..................... .. 78 50. String Quartet, Mobile 13, Overall tritone/minor second relationship................ 81 51. String Quartet, Mobile 27, Cadence pitches related to tritone and m2 ......................81 52. String Quartet, Mobiles 29-31, tritone/minor second relationship .........................................82 53. String Quartet, Mobiles 29-31, tritone/minor second relationship ............................... 82 54. String Quartet, Mobile 42, tritone/minor second distribution ............................ 83 55. String Quartet, Mobile 42, 0, 1, 2 , 3 set ....... 83 56. String Quartet, Mobile 46, Tritone arrangement ..... 84 57. String Quartet, Mobile 3, Use of full score ...... 85 58. String Quartet, Te m p o .............................. 85 59. String Quartet, Mobile 42, Variable length fermatas . 86 60. String Quartet, Mobile 7, Gradated note values ......... 87 ix Figure Page 61. String Quartet, Mobile 25, Duration gradation in bowing patterns . ........... 88 62o String Quartet, Mobile 50, Pizzicato
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