DOCSLIB.ORG

The Relation of Analysis to Performance of Post-Tonal Violin Music: Three Case Studies

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Relation of Analysis to Performance of Post-Tonal Violin Music: Three Case Studies City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 The Relation of Analysis to Performance of Post-tonal Violin Music: Three Case Studies Karen E. Rostron The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1565 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Relation of Analysis to Performance of Post-tonal Violin Music: Three Case Studies by Karen Rostron A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements of the degree of Doctor of Musical Arts The City University of New York 2016 ii © 2016 KAREN ROSTRON All Rights Reserved iii This manuscript has been read and accepted by the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Jeff Nichols _____________________ ______________________________________ Date Chair of Examining Committee Norman Carey _____________________ ___________________________________ Date Executive Officer Joseph N. Straus, Adviser Norman Carey, First Reader Ursula Oppens , Reader Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract THE RELATION OF ANALYSIS TO PERFORMANCE OF POST-TONAL VIOLIN MUSIC: THREE CASE STUDIES by Karen Rostron Adviser: Professor Joseph N. Straus This dissertation investigates analytical and performance relationships through studies of three post-tonal pieces for solo violin: Élégie by Igor Stravinsky (1944), Riconoscenza per Goffredo Petrassi by Elliott Carter (1984), and Melismata by Milton Babbitt (1982). The challenge of interpretation is especially evident in non-tonal music, as performers are unlikely to have any knowledge of the relevant relationships between pitches, functions of harmonies, or formal features in the pieces they play. In this respect analysis can contribute to an understanding needed to form a meaningful interpretation. I will attempt to show that even the most seemingly abstract theoretical concepts can have direct bearing on performance of modernist music and will propose a four-step process that I believe is effective at producing analyses in a form that can influence playing, down to the minute details. v Acknowledgments I am deeply grateful to my professors at the CUNY Graduate Center, particularly to my adviser, Joseph Straus, for his knowledge, prompt feedback, and for always encouraging and believing in me. His invaluable mentorship has guided me throughout this project, from beginning to end. A seminar on Stravinsky inspired my chapter on Élégie, a year of independent study on Carter produced the chapter on Riconoscenza per Goffredo Petrassi, and a seminar on the music of Milton Babbitt, co-taught by Jeff Nichols, prompted me to write a chapter on Babbitt’s Melismata. I am also grateful to Norman Carey for his straightforward guidance in performance and analysis, as well as his precise and thorough editing of my drafts. I would also like to thank Ursula Oppens for indirectly being responsible for this whole project and for being a role model and an inspiration to me. Rolf Schulte generously shared his knowledge of and enthusiasm for all of the pieces discussed here, and others. I am indebted to Roger Zare for his notation brilliance in digitizing the Babbitt score. Michael Cherlin, John Link, and John Roeder provided valuable input in the beginning stages of this project. I must also acknowledge the assistance I received from the music librarians of the Library of Congress who extended themselves to give me access to both the Stravinsky and Babbitt material. Josh Gilinsky, Ron Ma, and Bob Sweeney helped too by offering their advice and support. vi I gratefully acknowledge the publishers for permission to use the following musical examples: MELISMATA by Milton Babbitt © Copyright 1983 by C. F. Peters Corporation. All Rights Reserved. Reprinted by permission ELEGIE by Igor Stravinsky © Copyright 1944 by Boosey & Hawkes, Inc. Copyright renewed. Reprinted by permission. ORPHEUS by Igor Stravinsky © Copyright 1948 by Hawkes & Son (London) Ltd. Reprinted by permission. OEDIPUS REX by Igor Stravinsky © Copyright 1927 by Hawkes & Son (London) Ltd. Revised Version: © Copyright 1949, 1950 by Hawkes & Son (London) Ltd. U.S. Copyright Renewed. Reprinted by permission. RICONOSCENZA PER GOFFREDO PETRASSI by Elliott Carter © Copyright 1985 by Hendon Music, Inc. Reprinted by permission. vii Table of Contents Abstract ······································································································ iv Acknowledgements ·························································································· v Table of Contents ·························································································· vii List of Examples ····························································································· x List of Figures ···························································································· xviii List of Tables ····························································································· xviii Preface ······································································································· xix Chapter 1 The Relation of Post-Tonal Analysis to Performance ····················· 1 Perspectives from Music Theory ················································ 1 Performers’ Intuition ······························································ 3 Composers’ Intent ································································· 7 Historical Information ····························································· 9 Integrating Analysis and Performance ·········································11 Play the Interpretation, Not the Analysis ······································12 The Four-step Process ····························································13 Chapter 2 Case Study One: Élégie by Igor Stravinsky ································16 Introduction ······································································16 The Old: Borrowing and Style Background ········································································18 Bach and Chant ···································································18 Meter and Tempo Variance ·····················································19 Vibrato ·············································································21 Counterpoint Determines Fingerings···········································23 Melodic Violin ····································································27 Absence of Other Typical Elements············································28 The Old: Insinuations of Tonality Diatonicism ········································································29 Impression of “G minor” ························································30 Possibility of E Major ···························································33 Local Tendency Tones and Voice-Leading ···································35 The New: Non-tonal Views of Pitch Organization Bi-quintal Model ··································································38 Block Insertion of Basic Cells ··················································45 [024579] as a Generating, Fundamental Chord ·······························48 Collectional or Scalar View ·····················································53 The New: Symbolic Devices Referential Collections/Scales ··················································56 viii “Stutter” ············································································63 Summary and Conclusion ·····················································69 Chapter 3 Case Study Two: Riconoscenza per Goffredo Petrassi by Elliott Carter ····························································74 Introduction ······································································74 Drama and Human Social Interaction ··········································76 Characters in Riconoscenza ·····················································78 Interruption and Recollection ···················································80 Central Lyrical Figure ····························································81 Narrative Overview ·······························································82 The Characters in Detail The Main Character, Dolce A ···················································83 About Martellato B ·······························································89 About Tranquillo C ·······························································90 Early Connections between the Characters (mm. 1–36) Synopsis ············································································91 Pre-existence of B and C Elements within Dolce A ··························92 Prefiguring in B ································································· 101 Connecting Gestures across Boundaries between Characters ············ 102 Connections Become More Overt (mm. 36–66) Synopsis ·········································································· 104 First Response ··································································· 104 Cooperation ······································································
Load more

Recommended publications
  • The St. Petersburg Chamber Philharmonic Innovative Dynamic
    Innovative Dynamic Progressive Unique TheJeffery St. Meyer, Petersburg Artistic Director Chamber & Principal Philharmonic Conductor The St. Petersburg Chamber Philharmonic was founded in 2002 to St.create Petersburg and encourage cultural exchange Chamber between the United Philharmonic States and Russia and has become St. Petersburg’s most exciting and in- “The St. Petersburg novative chamber orchestra. Since its inception, the St. PCP has performed in the major concert halls of the city and has been pre- sentedAbout in its most important festivals. The orchestra’s unique and Chamber Philharmonic progressive programming has distinguished it from the many orches- tras of the city. It has performed over 130 works, including over has become an integral a dozen world premieres, introduced St. Petersburg audiences to more than 30 young performers, conductors and composers from part of the city’s culture” 15 different countries (such up-and-coming stars as Alisa Weilerstein, cello), and performed works by nearly 20 living American compos- ers, including Russian premieres of works by Pulitzer Prize-winning American composers Steve Riech, Steven Stucky and John Adams. Festival Appearances: Symphony Space, Wall-to-Wall Festival, “Behind the Wall”, 2010 “The orchestra 14th International Musical Olympus Festival, 2009 & 2010 International New Music Festival “Sound Ways”, 2005, 2006, 2007, 2008 demonstrates splendid 43rd International Festival St. Petersburg “Musical Spring”, 2006 5th Annual Festival “Japanese Spring in St. Petersburg”, 2005 virtuosity” “Avant-garde in our Days” Music Festival, 2003 Halls: Symphony Space, New York City Academic Capella Hall of Mirrors, Beloselsky-Belozersky Palace Hermitage Theatre “Magnificent” Maly Sal (Glinka) of the Philharmonic Shuvalovksy Palace Hall, Fontanka River St.
    [Show full text]
  • Charles M. Joseph. 2011. Stravinsky's Ballets. New Haven: Yale University
    Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. Reviewed by Maeve Sterbenz Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his develop- ment as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography. To begin, Joseph introduces his motivation for the project, arguing for the necessity of an in–depth study of Stravinsky’s works for dance in light of the fact that they comprise a significant fraction of the composer’s output (more so than any other Western classical composer) and that these works, most notably The Rite of Spring, occupy such a prominent place in the Western canon. According to Joseph, owing to Stravinsky’s sensitivity to the “complexly subtle counterpoint between ballet’s interlocking elements” (xv), the ballets stand out in the genre for their highly interdisciplinary nature. In the chapters that follow, Joseph examines each of the ballets, focusing alternately on details of the works, histories of their production and reception, and their biographical contexts.
    [Show full text]
  • On Diversity*
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Tennessee, Knoxville: Trace ON DIVERSITY* AMY CIMINI AND JAIRO MORENO DIVERSE: to “turn apart” (ME & OFr < L diversus, pp. of divertere, to turn aside < dis-, apart + vertere, to turn). he word “diverse,” etymology informs us, appears in the thirteenth century, perhaps in T analogy with a term used in geometry, “transverse.” Roughly four and a half centuries later, the word’s meaning becomes more or less fixed: an adjective signifying “different in char- acter or quality.” Late in the 1930s, “diverse” emerges as a verb to designate a new imperative in U.S. economics: to diversify, meaning the careful quantitative distribution of various invest- ments. By 1978, in a landmark United States Supreme Court ruling on university admissions, the word “diversity,” now a noun, comes to inscribe both a qualitative distinction of ethno-cultural groups and their quantitative distribution in institutions of higher education. Although the balance between quality and quantity, as well as their definition, was subject of much legal dispute, the notion became widely accepted that diversity of representation of various groups was fundamental to the educational mission of the university and the well-being of the social field. Whenever we speak of diversity in the U.S., we invoke the spirit of the Supreme Court’s definition. * The authors would like to thank Ana María Ochoa for comments on a draft of this article, and Clara Latham for expert research assistance. Jairo Moreno also thanks Philip Ewell and Frederick Bashour for the invitation to participate in the 2007 Society for Music Theory diversity panel in Baltimore.
    [Show full text]
  • Gatsby's Party King of the Hill Back to the Drawing Board
    SUNDAY, SEPTEMBER 14, 2014 732-747-8060 • TDN Home Page Click Here GATSBY’S PARTY BACK TO THE DRAWING BOARD Comprehensively beaten by Australia (GB) (Galileo Few would have expected that at this point in the {Ire}) in York’s G1 Juddmonte International last time season the sensational Treve (Fr) (Motivator {GB}) Aug. 20, Frank Gillespie’s The Grey Gatsby (Ire) would be winless and under scrutiny, but today’s (Mastercraftsman {Ire}) found more improvement to G1 Qatar Prix Vermeille at Longchamp is very much a gain his revenge on Ballydoyle’s dual Derby hero with a retrieval mission for the pride of Al Shaqab Racing. So thrilling late surge under Ryan Moore. Settled in last impressive when brushing aside Wild Coco (Ger) early, the June 1 G1 Prix (Shirocco {Ger}) in this contest 12 month ago, she du Jockey Club winner produced a performance of stellar merit when slamming was wound up at the end Orfevre (Jpn) (Stay Gold {Jpn}) in the G1 Prix de l’Arc of the back straight and de Triomphe three weeks later. Beaten by Cirrus des gradually reeled in the Aigles (Fr) (Even Top {Ire}) in the G1 Prix Ganay on her 3-10 favorite to overhaul return Apr. 27, she was all at sea on Royal Ascot’s him in the final stride and lively surface when third in a second try at 10 furlongs prevail by a neck. “We in the June 18 G1 Prince of Wales’s S. Given some thought he would have tender loving care and treatment in the interim by come on a little bit from Criquette Head-Maarek and reunited with Thierry Jarnet The Grey Gatsby overtakes York and they went a here, she has the chance to revive her career ahead of a Australia Racing Post good gallop and it set up potential defense of her crown in three weeks’ time.
    [Show full text]
  • Burkholder/Grout/Palisca, Eighth Edition, Chapter 35 38 Chapter 35
    38 17. After WW II, which group determined popular music styles? Chapter 35 Postwar Crosscurrents 18. (910) What is the meaning of generation gap? 1. (906) What is the central theme of Western music history since the mid-nineteenth century? 19. The music that people listened to affected their ____ and _______. 2. What are some of the things that pushed this trend? 20. What is the meaning of charts? 3. Know the definitions of the boldface terms. 21. What is another term for country music? What are its sources? 4. What catastrophic event occurred in the 1930s? 40s? 5. (907) Who are the existentialist writers? 22. (911) Why was it valued? 6. What political element took control of eastern Europe? 23. Describe the music. 7. What is the name of the political conflict? What are the names of the two units and who belongs to each? 24. What are the subclassifications? 8. What's the next group founded in 1945? 25. Name the stars. 9. What are the next wars? What is the date of the moon landing? 26. What's the capital? Theatre? 27. What's the new style that involves electric guitars? City? 10. TQ: What is a baby boom? G.I. Bill? Musician? 28. What phrase replaced "race music." 11. (908) Know the meaning of 78-rpm, LP, "45s." 12. Know transistor radio and disc jockey. 29. What comprised an R&B group? 13. When were tape recorders invented? Became common? 14. (909) When did India become independent? 30. What structure did they use? 15. Name the two figures important for the civil rights 31.
    [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]
  • Elliott Carter Works List
    W O R K S Triple Duo (1982–83) Elliott Carter Collection, Paul Sacher Foundation Basel ORCHESTRA Adagio tenebroso (1994) ............................................................ 20’ (H) 3(II, III=picc).2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-timp.perc(4):BD/ 4bongos/glsp/4tpl.bl/cowbells/vib/2susp.cym/2tom-t/2wdbl/SD/xyl/ tam-t/marimba/wood drum/2metal block-pft-strings (also see Symphonia: sum fluxae pretium spei) Allegro scorrevole (1996) ........................................................... 11’ (H) 2.picc.2.corA.2(II=Ebcl).bcl.2.dbn-4.3.3.1-perc(4):timp/glsp/xyl/vib/ 4bongos/SD/2tom-t/wdbl/3susp.cym/2cowbells/guiro/2metal blocks/ 4tpl.bl/BD/marimba-harp-pft-strings (also see Symphonia: sum fluxae pretium spei) Anniversary (1989) ....................................................................... 6’ (H) 3(III=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(2):vib/marimba/xyl/ 3susp.cym-pft(=cel)-strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Boston Concerto (2002) .............................................................. 19’ (H) 3(II,III=picc).2.corA.3(III=bcl).3(III=dbn)-4.3.3.1-perc(3):I=xyl/vib/log dr/4bongos/high SD/susp.cym/wood chime; II=marimba/log dr/ 4tpl.bl/2cowbells/susp.cym; III=BD/tom-t/4wdbls/guiro/susp.cym/ maracas/med SD-harp-pft-strings A Celebration of Some 100 x 150 Notes (1986) ....................... 3’ (H) 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(1):glsp/vib-pft(=cel)- strings(16.14.12.10.8) (also see Three Occasions for Orchestra) Concerto for Orchestra (1969) ..................................................
    [Show full text]
  • Reconsidering Pitch Centricity Stanley V
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 2011 Reconsidering Pitch Centricity Stanley V. Kleppinger University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Kleppinger, Stanley V., "Reconsidering Pitch Centricity" (2011). Faculty Publications: School of Music. 63. http://digitalcommons.unl.edu/musicfacpub/63 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Reconsidering Pitch Centricity STANLEY V. KLEPPINGER Analysts commonly describe the musical focus upon a particular pitch class above all others as pitch centricity. But this seemingly simple concept is complicated by a range of factors. First, pitch centricity can be understood variously as a compositional feature, a perceptual effect arising from specific analytical or listening strategies, or some complex combination thereof. Second, the relation of pitch centricity to the theoretical construct of tonality (in any of its myriad conceptions) is often not consistently or robustly theorized. Finally, various musical contexts manifest or evoke pitch centricity in seemingly countless ways and to differing degrees. This essay examines a range of compositions by Ligeti, Carter, Copland, Bartok, and others to arrive at a more nuanced perspective of pitch centricity - one that takes fuller account of its perceptual foundations, recognizes its many forms and intensities, and addresses its significance to global tonal structure in a given composition.
    [Show full text]
  • Vocality and Listening in Three Operas by Luciano Berio
    Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body.
    [Show full text]
  • A Theory of Spatial Acquisition in Twelve-Tone Serial Music
    A Theory of Spatial Acquisition in Twelve-Tone Serial Music Ph.D. Dissertation submitted to the University of Cincinnati College-Conservatory of Music in partial fulfillment of the requirements for the degree of Ph.D. in Music Theory by Michael Kelly 1615 Elkton Pl. Cincinnati, OH 45224 [email protected] B.M. in Music Education, the University of Cincinnati College-Conservatory of Music B.M. in Composition, the University of Cincinnati College-Conservatory of Music M.M. in Music Theory, the University of Cincinnati College-Conservatory of Music Committee: Dr. Miguel Roig-Francoli, Dr. David Carson Berry, Dr. Steven Cahn Abstract This study introduces the concept of spatial acquisition and demonstrates its applicability to the analysis of twelve-tone music. This concept was inspired by Krzysztof Penderecki’s dis- tinctly spatial approach to twelve-tone composition in his Passion According to St. Luke. In the most basic terms, the theory of spatial acquisition is based on an understanding of the cycle of twelve pitch classes as contiguous units rather than discrete points. Utilizing this theory, one can track the gradual acquisition of pitch-class space by a twelve-tone row as each of its member pitch classes appears in succession, noting the patterns that the pitch classes exhibit in the pro- cess in terms of directionality, the creation and filling in of gaps, and the like. The first part of this study is an explanation of spatial acquisition theory, while the se- cond part comprises analyses covering portions of seven varied twelve-tone works. The result of these analyses is a deeper understanding of each twelve-tone row’s composition and how each row’s spatial characteristics are manifested on the musical surface.
    [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]
  • DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M
    DANSES CQNCERTANTES BY IGOR STRAVINSKY: AN ARRANGEMENT FOR TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted August, 1994 t ACKNOWLEDGMENTS I would like to extend my appreciation to Dr. William Westney, not only for the excellent advice he offered during the course of this project, but also for the fine example he set as an artist, scholar and teacher during my years at Texas Tech University. The others on my dissertation committee-Dr. Wayne Hobbs, director of the School of Music, Dr. Kenneth Davis, Dr. Richard Weaver and Dr. Daniel Nathan-were all very helpful in inspiring me to complete this work. Ms. Barbi Dickensheet at the graduate school gave me much positive assistance in the final preparation and layout of the text. My father, Mr. Savino Purrone, as well as my family, were always very supportive. European American Music granted me permission to reprint my arrangement—this was essential, and I am thankful for their help and especially for Ms. Caroline Kane's assistance in this matter. Many other individuals assisted me, sometimes without knowing it. To all I express my heartfelt thanks and appreciation. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii CHAPTER L INTRODUCTION 1 n. GENERAL PRINCIPLES 3 Doubled Notes 3 Articulations 4 Melodic Material 4 Equal Roles 4 Free Redistribution of Parts 5 Practical Considerations 5 Homogeneity of Rhythm 5 Dynamics 6 Tutti GesUires 6 Homogeneity of Texmre 6 Forte-Piano Chords 7 Movement EI: Variation I 7 Conclusion 8 BIBLIOGRAPHY 9 m APPENDIX A.
    [Show full text]