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Topics, Form, and Expression in the Music of Gyorgy Ligeti and Thomas Ades.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Topics, Form, and Expression in the Music of Gyorgy Ligeti and Thomas Ades./
作者:	Donaldson, James.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	336 p.
附註:	Source: Dissertations Abstracts International, Volume: 83-10, Section: A.
Contained By:	Dissertations Abstracts International83-10A.
標題:	Piano. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29043509
ISBN:	9798209935131

Topics, Form, and Expression in the Music of Gyorgy Ligeti and Thomas Ades.
Donaldson, James.

Topics, Form, and Expression in the Music of Gyorgy Ligeti and Thomas Ades. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 336 p.

Source: Dissertations Abstracts International, Volume: 83-10, Section: A.

Thesis (Ph.D.)--McGill University (Canada), 2021.

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

This dissertation combines traditional music-theoretical approaches with theories of reading in literature to develop a method for an understanding of the significance of topics in music of the late twentieth century. One of the most widely applied aspects of musical semiotics, topics are defined as conventionalised musical objects with easily recognizable musical features, such as the Chorale, Lament, and Hunt. So far, this theory has primarily been applied to music of the eighteenth century. I develop its observations to detail the role of these standardized musical objects in the works of Gyorgy Ligeti and Thomas Ades from the 1990s and 2000s. Building on the semiotic and literary theories of Hjelmslev (1943), Greimas (1966), and Eco (1984), I show how the interactions of topical characteristics can constitute the foundation of a work's form, defining a hierarchy of topical presence (the Elementary, Intermediate, and Actant levels). Adopting the concept of isotopy from literature, I temporalise this hierarchy, demonstrating how a topic's lower-level characteristics appearing earlier in a work can project a later realisation of the full topic.Chapter 1 outlines previous theories and applications of topic theory and details how they can be adapted to later twentieth-century music. Drawing upon theories developed by Hjelmslev and Greimas, Chapter 2 outlines a hierarchy of topical specificity which, through adapting the term isotopy from literary theories of Greimas and Eco, Chapter 3 temporalises. Through applying these principles, I show how a Lament appears with increasing strength in Ligeti's Musica Ricercata, only appearing in full in the final bars, and how the overlapping characteristics of the Chorale and Sound Mass topics point to two different topical paths in Ligeti's Hamburg Concerto. Chapter 4 expands from a single topic to model the interaction of multiple topics in Topical Networks. Through analyses of Ades's Still Sorrowing and Ligeti's Horn Trio I show how the identification of different topics can create diverging conceptions of formal relationships through the listeners' prioritising of different musical relations. For example, a listener may identify inherited topics (e.g. Lament and Hunt) based upon their familiarity with canonical works, or may focusing on newer signs (such as a Sound Mass topic, with its associated imagery developed in Ligeti's writings, for example (see Wilson 2004)).Chapters 5-6 apply these principles to long-form analyses of Ligeti's Violin Concerto (1992) and Ades's Living Toys (1993). The latter applies mathematical group theory to show how the harmony of five topics can relate. Depending on the topics identified, I demonstrate how two different understandings of the harmony can be constructed. Chapter 7 returns to the historical concerns of Chapter 1. A more speculative chapter drawing upon contemporary theories of the function of signs in architecture, film, and literature, I show how this approach models an aesthetic that is part of broader trends in the later twentieth century.This study is the first to explore the ramifications of the flourishing sub-discipline of topic theory to late twentieth-century music, adapting traditional post-tonal music-theoretical techniques in detailed musical analysis. Given topic theory's social, cultural, and political concerns-indeed, William Caplin calls it 'one of the success stories of modern musicology' (Caplin 2005)-this approach has the potential to widen discussion on the role of signification and meaning in late twentieth-century music.

ISBN: 9798209935131Subjects--Topical Terms:

526062
Piano.

Topics, Form, and Expression in the Music of Gyorgy Ligeti and Thomas Ades.
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100 1 $a Donaldson, James. $3 3687827
245 1 0 $a Topics, Form, and Expression in the Music of Gyorgy Ligeti and Thomas Ades.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2021
300 $a 336 p.
500 $a Source: Dissertations Abstracts International, Volume: 83-10, Section: A.
500 $a Advisor: Neidhofer, Christoph;Hasegawa, Robert.
502 $a Thesis (Ph.D.)--McGill University (Canada), 2021.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation combines traditional music-theoretical approaches with theories of reading in literature to develop a method for an understanding of the significance of topics in music of the late twentieth century. One of the most widely applied aspects of musical semiotics, topics are defined as conventionalised musical objects with easily recognizable musical features, such as the Chorale, Lament, and Hunt. So far, this theory has primarily been applied to music of the eighteenth century. I develop its observations to detail the role of these standardized musical objects in the works of Gyorgy Ligeti and Thomas Ades from the 1990s and 2000s. Building on the semiotic and literary theories of Hjelmslev (1943), Greimas (1966), and Eco (1984), I show how the interactions of topical characteristics can constitute the foundation of a work's form, defining a hierarchy of topical presence (the Elementary, Intermediate, and Actant levels). Adopting the concept of isotopy from literature, I temporalise this hierarchy, demonstrating how a topic's lower-level characteristics appearing earlier in a work can project a later realisation of the full topic.Chapter 1 outlines previous theories and applications of topic theory and details how they can be adapted to later twentieth-century music. Drawing upon theories developed by Hjelmslev and Greimas, Chapter 2 outlines a hierarchy of topical specificity which, through adapting the term isotopy from literary theories of Greimas and Eco, Chapter 3 temporalises. Through applying these principles, I show how a Lament appears with increasing strength in Ligeti's Musica Ricercata, only appearing in full in the final bars, and how the overlapping characteristics of the Chorale and Sound Mass topics point to two different topical paths in Ligeti's Hamburg Concerto. Chapter 4 expands from a single topic to model the interaction of multiple topics in Topical Networks. Through analyses of Ades's Still Sorrowing and Ligeti's Horn Trio I show how the identification of different topics can create diverging conceptions of formal relationships through the listeners' prioritising of different musical relations. For example, a listener may identify inherited topics (e.g. Lament and Hunt) based upon their familiarity with canonical works, or may focusing on newer signs (such as a Sound Mass topic, with its associated imagery developed in Ligeti's writings, for example (see Wilson 2004)).Chapters 5-6 apply these principles to long-form analyses of Ligeti's Violin Concerto (1992) and Ades's Living Toys (1993). The latter applies mathematical group theory to show how the harmony of five topics can relate. Depending on the topics identified, I demonstrate how two different understandings of the harmony can be constructed. Chapter 7 returns to the historical concerns of Chapter 1. A more speculative chapter drawing upon contemporary theories of the function of signs in architecture, film, and literature, I show how this approach models an aesthetic that is part of broader trends in the later twentieth century.This study is the first to explore the ramifications of the flourishing sub-discipline of topic theory to late twentieth-century music, adapting traditional post-tonal music-theoretical techniques in detailed musical analysis. Given topic theory's social, cultural, and political concerns-indeed, William Caplin calls it 'one of the success stories of modern musicology' (Caplin 2005)-this approach has the potential to widen discussion on the role of signification and meaning in late twentieth-century music.
520 $a Cette these combine des approches theoriques musicales traditionnelles avec des theories de la lecture en litterature afin de developper une methode visant a comprendre la signification des « topiques » dans la musique de la fin du XXe siecle. L'un des aspects les plus utilises de la semiotique musicale, les topiques sont definis comme des objets musicaux conventionnels avec des caracteristiques musicales facilement reconnaissables, comme le choral, la complainte et la chasse. Jusqu'a present, cette theorie a ete principalement appliquee a la musique du XVIIIe siecle. Je developpe ces observations pour analyser le role de ces objets musicaux standardises dans la musique de Gyorgy Ligeti et Thomas Ades des annees 1990 et 2000. Utilisant les theories semiotiques et litteraires de Hjemslev (1943), Greimas (1966) et Eco (1984), je montre comment les interactions des caracteristiques des topiques peuvent constituer le fondement de la forme d'une oeuvre et definir une hierarchie de « presence topique » (les niveaux elementaire, intermediaire et actant). Adoptant le concept d'isotopie de la litterature, je temporise cette hierarchie afin de demontrer comment, par exemple, les caracteristiques de niveau inferieur d'un topique apparaissant plus tot dans une oeuvre peuvent projeter une realisation du topique plus tard.Le chapitre 1 presente les principes et les applications de la theorie des topiques et explore comment elles peuvent etre adaptees a la musique du XXe siecle. S'appuyant sur les theories de Hjemslev et Greimas, le chapitre 2 presente une hierarchie de specificite topique qui adapte concept d'isotopie des theories litteraires de Greimas et Eco. Le chapitre 3 temporalise cette hierarchie. En appliquant ces principes, je montre comment une complainte apparait avec une puissance accrue dans la Musica Ricercata de Ligeti, qui apparait en totalite seulement dans les dernieres mesures, et comment les caracteristiques qui se chevauchent des topiques du choral et de la masse sonore indiquent deux chemins d'actualite differents dans le Hamburger Konzert de Ligeti. Le chapitre 4 elargit un seul topique afin de modeliser l'interaction des caracteristiques des plusieurs topiques dans les reseaux topiques (un « topical network »). Par mes analyses de Still Sorrowing d'Ades et du Trio pour violon, cor, et piano de Ligeti, je montre comment l'identification des topiques differents peuvent creer des conceptions divergentes des relations formelles selon les topiques que l'auditeur priorise. Par exemple, un auditeur peut identifier des sujets herites (par exemple, la complainte et la chasse) a cause d'une familiarite avec les oeuvres canoniques, ou peut se concentrer sur des signes plus recents (comme le topique de la masse sonore, avec ses images associees developpees dans les ecrits de Ligeti, par exemple [Wilson 2004]).Les chapitres 5 et 6 appliquent ces principes a des analyses du Concerto pour violon de Ligeti et des Living Toys d'Ades. Cette derniere analyse applique la theorie mathematique des groupes pour montrer comment l'harmonie de cinq topiques peut etre liee. Le chapitre 7 revient aux preoccupations du chapitre 1. S'appuyant sur les theories contemporaines de la fonction des signes dans l'architecture, le cinema et la litterature, je montre comment cette approche modelise une esthetique qui fait partie des tendances de la fin du XXe siecle.Cette etude est la premiere a explorer les ramifications de la sous-discipline florissante de la theorie des topiques a la musique de la fin du XXe siecle, en adaptant les techniques traditionnelles de la musique post-tonale dans une analyse musicale detaillee. Comme la theorie des topiques s'interesse aux questions sociales, culturelles et politiques - William Caplin appelle la theorie « une des reussites dans musicologie moderne » (Caplin 2005) - cette approche a le potentiel d'elargir la discussion sur le role de la signification et du sens de la musique de la fin du XXe siecle.
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