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Lapse of Time, for Flute, Clarine, V...

Yang, Ming.

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Lapse of Time, for Flute, Clarine, Violin, Cello, Percussion and Piano.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Lapse of Time, for Flute, Clarine, Violin, Cello, Percussion and Piano./
作者:	Yang, Ming.
面頁冊數:	26 p.
附註:	Source: Masters Abstracts International, Volume: 54-03.
Contained By:	Masters Abstracts International54-03(E).
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1583013
ISBN:	9781321532227

Lapse of Time, for Flute, Clarine, Violin, Cello, Percussion and Piano.
Yang, Ming.

Lapse of Time, for Flute, Clarine, Violin, Cello, Percussion and Piano. - 26 p.

Source: Masters Abstracts International, Volume: 54-03.

Thesis (M.M.)--University of Missouri - Kansas City, 2015.

The inspiration for this piece came from some initial sounds in my mind. The music is combination of these sounds, which sometimes mix well and sometimes collide. In order to realize these sounds, I created three primary textures and applied them, in different combinations, to the six instruments of the ensemble: flute, clarinet, violin, cello, percussion and piano. The form is based on the three textures, which are sometimes used individually and at other times mixed together in various combinations. There are six parts, plus a coda and two interjections.

ISBN: 9781321532227Subjects--Topical Terms:

516178
Music.

Lapse of Time, for Flute, Clarine, Violin, Cello, Percussion and Piano.
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500 $a Adviser: Yi Chen.
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520 $a The inspiration for this piece came from some initial sounds in my mind. The music is combination of these sounds, which sometimes mix well and sometimes collide. In order to realize these sounds, I created three primary textures and applied them, in different combinations, to the six instruments of the ensemble: flute, clarinet, violin, cello, percussion and piano. The form is based on the three textures, which are sometimes used individually and at other times mixed together in various combinations. There are six parts, plus a coda and two interjections.
520 $a Though the use of differing textures creates contradictions and comparisons between the different sounds, several chord structures are used in a consistent way to create a sense of unity by connecting disparate sections. The flow of these harmonies, while not tonal in sound or traditional in progression, create a sense of overall direction within the piece, which can be felt despite the disparate and often contradictory nature of the textures.
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