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One: Prelude and partial postlude.

Racadag, Alan.

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One: Prelude and partial postlude.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	One: Prelude and partial postlude./
作者:	Racadag, Alan.
面頁冊數:	14 p.
附註:	Source: Masters Abstracts International, Volume: 54-06.
Contained By:	Masters Abstracts International54-06(E).
標題:	Performing arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1592224
ISBN:	9781321862119

One: Prelude and partial postlude.
Racadag, Alan.

One: Prelude and partial postlude. - 14 p.

Source: Masters Abstracts International, Volume: 54-06.

Thesis (Mus.M.)--Bowling Green State University, 2015.

One: Prelude and Partial Postlude is a five-minute piece for orchestra. The instrumentation consists of three flutes, three oboes, three Bb-clarinets, three bassoons, four horns, three C trumpets, three trombones, tuba, 2 percussionists (tam-tam and bass drum), harp, piano, twelve first violins, ten second violins, eight violas, seven celli, and six double basses.

ISBN: 9781321862119Subjects--Topical Terms:

523119
Performing arts.

One: Prelude and partial postlude.
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245 1 0 $a One: Prelude and partial postlude.
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500 $a Adviser: Mikel Kuehn.
502 $a Thesis (Mus.M.)--Bowling Green State University, 2015.
520 $a One: Prelude and Partial Postlude is a five-minute piece for orchestra. The instrumentation consists of three flutes, three oboes, three Bb-clarinets, three bassoons, four horns, three C trumpets, three trombones, tuba, 2 percussionists (tam-tam and bass drum), harp, piano, twelve first violins, ten second violins, eight violas, seven celli, and six double basses.
520 $a Informed by observations of musical perception and psychology, the piece features textures that simultaneously draw attention to the multiplicity of individual players and to the orchestra as one massive whole. The dense layering of sound constantly changes the listener's perception of background, middle ground, and foreground material.
520 $a One consists of four sections that articulate a continuous process. A mensuration canon builds sixteen simultaneous iterations of the subject while steadily increasing in tempo. The canon creates individual meters on the smallest temporal scale and a constantly expanding polymeter on the largest scale. The harmonic language of the piece ranges from to atonality to polytonality and is the direct result of harmonic relationships between canonic iterations. The canon subject consists of three voices, each based on the octatonic scale. Together, the voices encompass all twelve transpositions of the major triad and are carefully constructed so that the circle of perfect fourths emerges from their combination. The inspiration for the piece came from a sudden awareness of plentiful existence.
590 $a School code: 0018.
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