東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Canto I.

Schwan, Thomas.

Linked to FindBook

Google Book

Amazon

博客來

Canto I.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Canto I./
Author:	Schwan, Thomas.
Description:	26 p.
Notes:	Source: Masters Abstracts International, Volume: 54-04.
Contained By:	Masters Abstracts International54-04(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1588133
ISBN:	9781321730685

Canto I.
Schwan, Thomas.

Canto I. - 26 p.

Source: Masters Abstracts International, Volume: 54-04.

Thesis (M.Mus.)--Southern Methodist University, 2015.

My writing is influenced by a number of 20th-Century artists and thinkers primarily concerned with spiritual issues. Among them composers Charles Ives, Morton Feldman, Giacinto Scelsi, Olivier Messiaen, John Cage, as well as the Christian-Orthodox mystic Pavel Florensky and filmmakers Pier Paolo Pasolini, Michelangelo Antonioni, Andrey Tarkovsky, Robert Bresson. In different ways, all these personalities express a certain degree of mysticism in their work, and consider art as a gateway to a realm of spiritual otherness.

ISBN: 9781321730685Subjects--Topical Terms:

516178
Music.

Canto I.
LDR:03946nmm a2200373 4500 001 2073244
005 20160915132410.5
008 170521s2015 ||||||||||||||||| ||eng d
020 $a 9781321730685
035 $a (MiAaPQ)AAI1588133
035 $a AAI1588133
040 $a MiAaPQ $c MiAaPQ
100 1 $a Schwan, Thomas. $3 3188478
245 1 0 $a Canto I.
300 $a 26 p.
500 $a Source: Masters Abstracts International, Volume: 54-04.
500 $a Adviser: Kevin Hanlon.
502 $a Thesis (M.Mus.)--Southern Methodist University, 2015.
520 $a My writing is influenced by a number of 20th-Century artists and thinkers primarily concerned with spiritual issues. Among them composers Charles Ives, Morton Feldman, Giacinto Scelsi, Olivier Messiaen, John Cage, as well as the Christian-Orthodox mystic Pavel Florensky and filmmakers Pier Paolo Pasolini, Michelangelo Antonioni, Andrey Tarkovsky, Robert Bresson. In different ways, all these personalities express a certain degree of mysticism in their work, and consider art as a gateway to a realm of spiritual otherness.
520 $a Canto I tells a story of complementary forces: suffering and redemption, depth and height, time and eternity. Many compositional choices are inspired by this principle of duality. For instance, the dark and earthy color of the low register of the piano is mirrored by the aerial and luminous timbre of the bells, as if to evoke two irreconcilable spiritual dimensions. The double appearance of the choir---at the beginning and at the end of the work---aims to convey a similar duality of meaning.
520 $a The form is based on a principle of recurrence, involving the cyclical return of intervals, motives, harmonies, and timbres. Excepting the string timbre, which is constant throughout the piece, all other timbres (flute, clarinet, chimes, piano, and voices) appear, disappear, and suddenly return with an epiphanic meaning. Accordingly, absence is as meaningful as presence. Tonal tensions are stretched and adapted to a circular, cyclical, and non-Western idea of time, with a result that is simultaneously static and strongly directional.
520 $a Instrumentation. Flute, B&flat; Clarinet, Chimes, Piano, Choir (4 male and 4 female voices), Violin I, Violin II, Viola, Cello (Score is transposed).
520 $a Performance notes.
520 $a Voices should sing an indefinite vowel in between O and A, in a very pure, straight, and extremely soft tone.
520 $a Vibrato in the strings is directly proportional to dynamics: a moderate vibrato (yet always perceptible) in piano and pianissimo , and a more open, expressive vibrato in forte and fortissimo. Ideally, bow changes are as infrequent as possible and very well masked, providing an illusion of continuity. Attack in the strings is always up bow, smooth, and unaccented.
520 $a Chimes should be played with the appropriate mallet to deliver a soft and lontano tone.
520 $a In the piano part, the right and left pedals are always held down fully. On page 1 and 13, the gestures between the broken lines in the box must be first performed in the written order. Subsequently, after repeating the first gesture, the pianist should improvise presenting the gestures in any order until the end of the arrow. Very moderate variations in rhythm and duration are possible, as long as the intended pacing and effect are rigorously preserved. The improvisatory sections in the piano part (including the last measure of page 6) are scored at eighth note = 60. All the other sections follow the main tempo (ca. eighth note = 54).
520 $a The attack of the first note of the cello may or may not coincide with any event in the piano part.
590 $a School code: 0210.
650 4 $a Music. $3 516178
690 $a 0413
710 2 $a Southern Methodist University. $b Music. $3 2099142
773 0 $t Masters Abstracts International $g 54-04(E).
790 $a 0210
791 $a M.Mus.
792 $a 2015
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1588133