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Knowledge ascription and traditional...

Buckwalter, Jon Wesley.

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Knowledge ascription and traditional epistemology.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Knowledge ascription and traditional epistemology./
Author:	Buckwalter, Jon Wesley.
Description:	143 p.
Notes:	Source: Dissertation Abstracts International, Volume: 74-05(E), Section: A.
Contained By:	Dissertation Abstracts International74-05A(E).
Subject:	Philosophy. -
Online resource:	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.
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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
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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).
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791 $a Ph.D.
792 $a 2013
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3549039