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Part I. "Blackbirds" and "Argot...

Arrell, Christopher Andrew.

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Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope: Art and Science in the Music of Gerard Grisey.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope: Art and Science in the Music of Gerard Grisey./
Author:	Arrell, Christopher Andrew.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2002,
Description:	234 p.
Notes:	Source: Dissertations Abstracts International, Volume: 64-06, Section: A.
Contained By:	Dissertations Abstracts International64-06A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3063686
ISBN:	9780493825809

Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope: Art and Science in the Music of Gerard Grisey.
Arrell, Christopher Andrew.

Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope: Art and Science in the Music of Gerard Grisey. - Ann Arbor : ProQuest Dissertations & Theses, 2002 - 234 p.

Source: Dissertations Abstracts International, Volume: 64-06, Section: A.

Thesis (D.M.A.)--Cornell University, 2002.

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

The first part of this dissertation is a portfolio of two compositions written during my doctoral studies at Cornell. Blackbirds is a setting of five poems from Wallace Stevens's Thirteen Ways of Looking at a Blackbird. There were two principal concerns while writing the work. The first was to broaden my harmonic and timbral vocabulary by my studies of spectral music. The second was to contrast complexities of meter and harmony with clear gestures and formal models in an attempt to avoid the double-edged sword of either too much predictability, and possible boredom, or too little predictability, and possible alienation. Argot is a setting of two poems by E. E. Cummings, f/eeble a blu and n// ot eth, that frame a movement for instruments alone. What attracted me to setting these poems is the layered aspect of their presentation: a surface of imaginary words formed by fracturing and remolding the original text; a middle ground of the pre-diffused words; and a background of interpretation. In my settings, I attempt to retain the layers, as follows. First, the soprano presents the surface layer by pronouncing the imaginary words phonetically. Second, word painting, slightly more abstract, provides a middle-ground layer. Finally, the background narrative of the music reflects my interpretation of the poems. The second part of this dissertation is a discussion of early spectral composition, with a focus on the music of Gerard Grisey. The first three chapters provide, respectively, an account of historical and aesthetic factors that shaped the movement, an explanation of pertinent research from the field of acoustics, and an overview of spectral techniques, including Grisey's approach to musical time. At the heart of the dissertation are detailed analyses of Grisey's Periodes and Partiels . Topics include natural and synthetic sound models, the dualities of harmonicity/inharmonicity and periodicity/aperiodicity, process and pre-audibility.

ISBN: 9780493825809Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Argot

Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope: Art and Science in the Music of Gerard Grisey.
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245 1 0 $a Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope: Art and Science in the Music of Gerard Grisey.
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300 $a 234 p.
500 $a Source: Dissertations Abstracts International, Volume: 64-06, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Stucky, Steven.
502 $a Thesis (D.M.A.)--Cornell University, 2002.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a The first part of this dissertation is a portfolio of two compositions written during my doctoral studies at Cornell. Blackbirds is a setting of five poems from Wallace Stevens's Thirteen Ways of Looking at a Blackbird. There were two principal concerns while writing the work. The first was to broaden my harmonic and timbral vocabulary by my studies of spectral music. The second was to contrast complexities of meter and harmony with clear gestures and formal models in an attempt to avoid the double-edged sword of either too much predictability, and possible boredom, or too little predictability, and possible alienation. Argot is a setting of two poems by E. E. Cummings, f/eeble a blu and n// ot eth, that frame a movement for instruments alone. What attracted me to setting these poems is the layered aspect of their presentation: a surface of imaginary words formed by fracturing and remolding the original text; a middle ground of the pre-diffused words; and a background of interpretation. In my settings, I attempt to retain the layers, as follows. First, the soprano presents the surface layer by pronouncing the imaginary words phonetically. Second, word painting, slightly more abstract, provides a middle-ground layer. Finally, the background narrative of the music reflects my interpretation of the poems. The second part of this dissertation is a discussion of early spectral composition, with a focus on the music of Gerard Grisey. The first three chapters provide, respectively, an account of historical and aesthetic factors that shaped the movement, an explanation of pertinent research from the field of acoustics, and an overview of spectral techniques, including Grisey's approach to musical time. At the heart of the dissertation are detailed analyses of Grisey's Periodes and Partiels . Topics include natural and synthetic sound models, the dualities of harmonicity/inharmonicity and periodicity/aperiodicity, process and pre-audibility.
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