東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Knowledge ascription and traditional...

Buckwalter, Jon Wesley.

FindBook

Google Book

Amazon

博客來

Knowledge ascription and traditional epistemology.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Knowledge ascription and traditional epistemology./
作者:	Buckwalter, Jon Wesley.
面頁冊數:	143 p.
附註:	Source: Dissertation Abstracts International, Volume: 74-05(E), Section: A.
Contained By:	Dissertation Abstracts International74-05A(E).
標題:	Philosophy. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3549039
ISBN:	9781267851468

Knowledge ascription and traditional epistemology.
Buckwalter, Jon Wesley.

Knowledge ascription and traditional epistemology. - 143 p.

Source: Dissertation Abstracts International, Volume: 74-05(E), Section: A.

Thesis (Ph.D.)--City University of New York, 2013.

This item is not available from ProQuest Dissertations & Theses.

Late in his career, Aaron Copland composed four twelve-tone works; the Quartet for Piano and Strings (1950), the Piano Fantasy (1957), Connotations (1962), and Inscape (1967). Rather than constituting a sudden conversion to serial composition, Copland's mature twelve-tone works constitute a revival of serial procedures that antedates and pervades his American works of the 1930s and 40s. Consequently, in this dissertation I will assert a stylistic continuity that informs the mature twelve-tone works, which also distinguishes Copland's tonal idiom. This continuity contradicts the distinction between Copland's "severe" and "simple," or "highbrow" and "lowbrow" styles, which has been previously promoted in the literature. Accordingly, I will show that Copland adapted twelve-tone principles to his already well-established idiom, transferring salient features of the harmonic language in his American works to a serial platform. As a result, all of the mature twelve-tone works employ cyclic row classes that are based on whole-tone relationships. The cyclic properties of those row classes generate a plethora of symmetrical constructs that recreate the distinctive fourth-and-fifth-harmonies that are typical of Copland's tonal harmonic language. There are four additional compositional principles that determine the organization of pitch: segmental invariance, whole-tone complementation, cyclic formal articulation, and a generalized collectional interaction between pentatonic, octatonic, and hexatonic sets.

ISBN: 9781267851468Subjects--Topical Terms:

516511
Philosophy.

Knowledge ascription and traditional epistemology.
LDR:02619nmm a2200325 4500 001 2057842
005 20150622091127.5
008 170521s2013 ||||||||||||||||| ||eng d
020 $a 9781267851468
035 $a (MiAaPQ)AAI3549039
035 $a AAI3549039
040 $a MiAaPQ $c MiAaPQ
100 1 $a Buckwalter, Jon Wesley. $3 3171725
245 1 0 $a Knowledge ascription and traditional epistemology.
300 $a 143 p.
500 $a Source: Dissertation Abstracts International, Volume: 74-05(E), Section: A.
500 $a Adviser: Jesse Prinz.
502 $a Thesis (Ph.D.)--City University of New York, 2013.
506 $a This item is not available from ProQuest Dissertations & Theses.
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 Late in his career, Aaron Copland composed four twelve-tone works; the Quartet for Piano and Strings (1950), the Piano Fantasy (1957), Connotations (1962), and Inscape (1967). Rather than constituting a sudden conversion to serial composition, Copland's mature twelve-tone works constitute a revival of serial procedures that antedates and pervades his American works of the 1930s and 40s. Consequently, in this dissertation I will assert a stylistic continuity that informs the mature twelve-tone works, which also distinguishes Copland's tonal idiom. This continuity contradicts the distinction between Copland's "severe" and "simple," or "highbrow" and "lowbrow" styles, which has been previously promoted in the literature. Accordingly, I will show that Copland adapted twelve-tone principles to his already well-established idiom, transferring salient features of the harmonic language in his American works to a serial platform. As a result, all of the mature twelve-tone works employ cyclic row classes that are based on whole-tone relationships. The cyclic properties of those row classes generate a plethora of symmetrical constructs that recreate the distinctive fourth-and-fifth-harmonies that are typical of Copland's tonal harmonic language. There are four additional compositional principles that determine the organization of pitch: segmental invariance, whole-tone complementation, cyclic formal articulation, and a generalized collectional interaction between pentatonic, octatonic, and hexatonic sets.
590 $a School code: 0046.
650 4 $a Philosophy. $3 516511
650 4 $a Psychology, General. $3 1018034
650 4 $a Epistemology. $3 896969
690 $a 0422
690 $a 0621
690 $a 0393
710 2 $a City University of New York. $b Philosophy. $3 1030648
773 0 $t Dissertation Abstracts International $g 74-05A(E).
790 $a 0046
791 $a Ph.D.
792 $a 2013
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3549039