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Post-pitch World: Timbre as the Primary Element of Form.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Post-pitch World: Timbre as the Primary Element of Form./
作者:	Majd, Arash .
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	300 p.
附註:	Source: Dissertations Abstracts International, Volume: 81-07, Section: A.
Contained By:	Dissertations Abstracts International81-07A.
標題:	Musical composition. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27670390
ISBN:	9781392725856

Post-pitch World: Timbre as the Primary Element of Form.
Majd, Arash .

Post-pitch World: Timbre as the Primary Element of Form. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 300 p.

Source: Dissertations Abstracts International, Volume: 81-07, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2020.

This item must not be sold to any third party vendors.

While pitch has been the primary element of form for many centuries, this dissertation considers the possibility of using timbre as the primary element of form in a musical composition. It explores the different mindsets, structural procedures, and techniques which contribute to the construction of form in the absence of pitch. As its primary case study, this dissertation analyzes Crama by Panayiotis Kokoras (b.1974) to discover the practical applications of a piece formally organized by timbre, including over one hundred figures that analyze Crama in smaller sections. These figures express the timbre of each instrument, and then compare the timbre of each instrument to all other instruments before discussing the results. Most of the figures include a short conclusion that explains how timbre supports the form in this piece. The conclusion chapter draws from the case study chapters and suggests even more options to createa sound-based composition.

ISBN: 9781392725856Subjects--Topical Terms:

3289630
Musical composition.
Subjects--Index Terms:

Post-pitch world

Post-pitch World: Timbre as the Primary Element of Form.
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506 $a This item must not be sold to any third party vendors.
520 $a While pitch has been the primary element of form for many centuries, this dissertation considers the possibility of using timbre as the primary element of form in a musical composition. It explores the different mindsets, structural procedures, and techniques which contribute to the construction of form in the absence of pitch. As its primary case study, this dissertation analyzes Crama by Panayiotis Kokoras (b.1974) to discover the practical applications of a piece formally organized by timbre, including over one hundred figures that analyze Crama in smaller sections. These figures express the timbre of each instrument, and then compare the timbre of each instrument to all other instruments before discussing the results. Most of the figures include a short conclusion that explains how timbre supports the form in this piece. The conclusion chapter draws from the case study chapters and suggests even more options to createa sound-based composition.
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