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AN ANALYTICAL STUDY of a STRING AROUND AUTUMN by TORU TAKEMITSU by Tze-Ying Wu Submitted to the Faculty of the Jacobs School Of

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AN ANALYTICAL STUDY of a STRING AROUND AUTUMN by TORU TAKEMITSU by Tze-Ying Wu Submitted to the Faculty of the Jacobs School Of AN ANALYTICAL STUDY OF A STRING AROUND AUTUMN BY TORU TAKEMITSU by Tze-Ying Wu Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music in Viola Performance Indiana University December 2016 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music in Viola Performance Doctoral Committee ___________________________________ Blair Johnston, Research Director ___________________________________ Atar Arad, Chair ___________________________________ Edward Gazouleas ___________________________________ Stephen Wyrczynski September 1, 2016 ii Copyright © 2016 Tze-Ying Wu iii Table of Contents Table of Contents .............................................................................................................. iv List of Examples ............................................................................................................... vi List of Figures ................................................................................................................... ix List of Diagrams ............................................................................................................... x Chapter 1: Introduction ..................................................................................................... 1 1.1 Toru Takemitsu .............................................................................................. 1 1.2 The general background of A String Around Autumn .................................... 11 Chapter 2: Formal analysis of A String Around Autumn .................................................. 14 2.1 The basic patterns ........................................................................................... 15 2.1.1 Pattern A .......................................................................................... 16 2.1.2 Pattern B ........................................................................................... 18 2.1.3 Pattern C ........................................................................................... 20 2.2 The events ....................................................................................................... 23 2.2.1 Event A ............................................................................................ 24 2.2.2 Event B ............................................................................................. 25 2.2.3 Event C ............................................................................................. 27 2.2.4 Event D ............................................................................................ 28 2.2.5 Event E ............................................................................................. 30 2.2.6 Event F ............................................................................................. 31 2.3 Formal analysis ............................................................................................... 33 Chapter 3: Pitch collections in A String Around Autumn ................................................. 38 3.1 Olivier Messiaen and George Russell ............................................................. 38 3.2 The second mode of limited transposition—octatonic collection ................... 40 3.3 The third mode of limited transposition .......................................................... 43 3.4 Diatonic collection .......................................................................................... 47 3.5 Acoustic collection .......................................................................................... 55 Chapter 4: Other aspects of A String Around Autumn ...................................................... 59 4.1 The establishment of centricity ....................................................................... 59 4.2 The “pan-focal” orchestration and the extended instrumental techniques ................................................................................................. 63 4.3 Takemitsu’s “stream of sound” in A String Around Autumn .......................... 70 iv Chapter 5: Conclusion ....................................................................................................... 75 Bibliography ..................................................................................................................... 80 v List of Examples Example 2.1.1 Pattern A ................................................................................................... 16 Example 2.1.2 A String Around Autumn, mm. 12-16 ....................................................... 17 Example 2.1.3 Pattern A in A String Around Autumn, mm. 103-106 ............................... 17 Example 2.1.4 Pattern B in A String Around Autumn, m. 11 ........................................... 18 Example 2.1.5 Pattern B in A String Around Autumn, m. 16 ........................................... 19 Example 2.1.6 A series of Pattern B in A String Around Autumn, m. 71 ......................... 19 Example 2.1.7 A dominant melody initiated by Pattern B ............................................... 20 Example 2.1.8 Pattern C in A String Around Autumn, m. 1 ............................................. 21 Example 2.1.9 Pattern C in A String Around Autumn, m. 6 ............................................. 21 Example 2.1.10 Pattern C in A String Around Autumn, mm. 8-11 ................................... 22 Example 2.1.11 Pattern C in A String Around Autumn, mm. 33-35 ................................. 22 Example 2.1.12 Pattern C in A String Around Autumn, mm. 83-87 ................................. 22 Example 2.1.13 Pattern C as chords in A String Around Autumn, m. 68 ......................... 23 Example 2.2.1 Event A in A String Around Autumn, m. 1 ............................................... 24 Example 2.2.2 Event B in A String Around Autumn, mm 8-9 .......................................... 25 Example 2.2.3 Altered Event B in A String Around Autumn, mm. 89-90 ........................ 26 Example 2.2.4 Event C in A String Around Autumn, m. 7 ............................................... 26 Example 2.2.5 Event B and C in A String Around Autumn, mm. 4-7, mm. 24-27 ............................................................................................................. 27 Example 2.2.6a Event D in A String Around Autumn, m. 19 ........................................... 28 Example 2.2.6b Event D in A String Around Autumn, m. 59 ........................................... 29 Example 2.2.6c Event D in A String Around Autumn, m. 72 ........................................... 29 vi Example 2.2.7 Event E in A String Around Autumn, mm. 41-42 ..................................... 30 Example 2.2.8 Event F in A String Around Autumn, m. 60 .............................................. 30 Example 2.2.9 Event F in A String Around Autumn, mm. 60-61 ..................................... 31 Example 2.2.10 Event F in A String Around Autumn, mm. 136-137 ............................... 32 Example 2.3.1 The six-flat diatonic collection in A String Around Autumn, mm. 107-108 ......................................................................................................... 35 Example 3.2.1 Oct2,3 in A String Around Autumn, m. 6 .................................................... 40 Example 3.2.2 Oct0,1 in A String Around Autumn, mm. 19-21 .......................................... 40 Example 3.2.3 Oct0,1 in A String Around Autumn, mm. 52-54 ......................................... 41 Example 3.2.4 Oct0,1 in A String Around Autumn, m. 54 .................................................. 41 Example 3.2.5 Oct2,3 in mm. 89-94 ................................................................................... 41 Example 3.3.1 Mode III in Event A in A String Around Autumn, mm. 1-2 ..................... 42 Example 3.3.2 Mode III2,4 in A String Around Autumn, mm. 33-34 ................................. 44 Example 3.3.3 Mode III in Event E in A String Around Autumn, mm. 83-87 .................. 44 Example 3.3.4 Combination of different pitch collections in A String Around Autumn, mm. 29-33 ............................................................................................... 45 Example 3.4.1a C pentatonic collection in A String Around Autumn, m. 4 ...................... 46 Example 3.4.1b B-flat pentatonic theme in A String Around Autumn, m. 20 ................... 46 Example 3.4.1c C pentatonic collection A String Around Autumn, mm. 137-138 ......................................................................................................... 47 Example 3.4.1d The introductory passage to the last section of the piece in A String Around Autumn, mm. 113-115 ................................................................... 47 Example 3.4.2 A String Around Autumn, mm. 12-16 ....................................................... 48 vii Example 3.4.3 A diatonic chord in A String Around Autumn, m. 7 .................................. 50 Example 3.4.4 Diatonic and octatonic chords in A String Around Autumn, mm. 42-46 ............................................................................................................. 51 Example 3.4.5 Passage of Letter R in A String Around Autumn ...................................... 52 Example 3.5.1 Acoustic collections in A String Around Autumn, m. 5 and m. 87 ......................................................................................................
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