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

FindBook

Google Book

Amazon

博客來

Textural transformations : = The instrumental music of Krzysztof Penderecki, 1960-1973.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Textural transformations :/
其他題名:	The instrumental music of Krzysztof Penderecki, 1960-1973.
作者:	Foy, Randolph.
面頁冊數:	1 online resource (368 pages)
附註:	Source: Dissertations Abstracts International, Volume: 76-02, Section: A.
Contained By:	Dissertations Abstracts International76-02A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9427221click for full text (PQDT)
ISBN:	9798208592809

Textural transformations : = The instrumental music of Krzysztof Penderecki, 1960-1973.
Foy, Randolph.

Textural transformations :The instrumental music of Krzysztof Penderecki, 1960-1973. - 1 online resource (368 pages)

Source: Dissertations Abstracts International, Volume: 76-02, Section: A.

Thesis (D.M.A.)--Peabody Institute of the Johns Hopkins University, 1994.

Includes bibliographical references

Krzysztof Penderecki's works through 1973 have variously been described as Farbenmusik (color-music), timbre music, sound-mass compositions, and cluster pieces. Commentators have also referred to them as being outside the sphere of music and even unanalysable, although they have also received critical acclaim and audience support. The focus of this study is the nature of Penderecki's instrumental works from 1960-73--music in which neither pitch nor rhythmic pulse predominate over other elements. A working definition of a musical texture is developed to facilitate analysis and discussion, then a typology of basic textures in Penderecki's works is explored. A context for the musical analyses is established though the discussion of the European avant-garde of the 1960's, other composers of texture-based music of the time, and Penderecki's own background and early compositional interests. Procedures for the application of a type of textural motivic analysis are explored in an extensive sample analysis of the Capriccio for Violin and Orchestra (1967). These aspects of the Capriccio are revealed: (1) a sophisticated overall structure, (2) smaller structural divisions delineated with consistency and clarity, (3) textures used motivically, with a wide variety of transformations basic material throughout the work, (4) all of the basic motivic material (manifestations of textural types) presented clearly and completely at the beginning of the piece and returning at the end, and (5) the use of textures as functional units such as beginnings, middles, and endings to clarify structure and further the dramatic intensity of the work. These analytic techniques are then applied to thirteen other representative instrumental works of Penderecki in texture style, including Anaklasis, Threnody for the Victims of Hiroshima, De Natura Sonoris, Partita, and the Symphony no. 1, the longest and last work in texture style. In an extensive analysis, the Symphony is found to be a compelling, masterful composition, containing clear motives created from textures and undergoing a myriad of transformations and metamorphoses. It is laid out in a sophisticated formal plan and is a drama of great power and scope. Paradoxically, it stands not only as Penderecki's last composition in texture style but also his finest. Finally, Penderecki's 1973 turn away from texture style is discussed through the examination of possible rationales for the profound change in style. Among the influences for change are the composer's experiences as a new conductor, beginning with the premier of the Symphony no. 1. The legacy of texture-style is discussed as conclusion.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798208592809Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Penderecki, KrzystofIndex Terms--Genre/Form:

542853
Electronic books.

Textural transformations : = The instrumental music of Krzysztof Penderecki, 1960-1973.
LDR:03996nmm a2200361K 4500 001 2355289
005 20230512095543.5
006 m o d
007 cr mn ---uuuuu
008 241011s1994 xx obm 000 0 eng d
020 $a 9798208592809
035 $a (MiAaPQ)AAI9427221
035 $a AAI9427221
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Foy, Randolph. $3 3695694
245 1 0 $a Textural transformations : $b The instrumental music of Krzysztof Penderecki, 1960-1973.
264 0 $c 1994
300 $a 1 online resource (368 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 76-02, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Spitzer, John.
502 $a Thesis (D.M.A.)--Peabody Institute of the Johns Hopkins University, 1994.
504 $a Includes bibliographical references
520 $a Krzysztof Penderecki's works through 1973 have variously been described as Farbenmusik (color-music), timbre music, sound-mass compositions, and cluster pieces. Commentators have also referred to them as being outside the sphere of music and even unanalysable, although they have also received critical acclaim and audience support. The focus of this study is the nature of Penderecki's instrumental works from 1960-73--music in which neither pitch nor rhythmic pulse predominate over other elements. A working definition of a musical texture is developed to facilitate analysis and discussion, then a typology of basic textures in Penderecki's works is explored. A context for the musical analyses is established though the discussion of the European avant-garde of the 1960's, other composers of texture-based music of the time, and Penderecki's own background and early compositional interests. Procedures for the application of a type of textural motivic analysis are explored in an extensive sample analysis of the Capriccio for Violin and Orchestra (1967). These aspects of the Capriccio are revealed: (1) a sophisticated overall structure, (2) smaller structural divisions delineated with consistency and clarity, (3) textures used motivically, with a wide variety of transformations basic material throughout the work, (4) all of the basic motivic material (manifestations of textural types) presented clearly and completely at the beginning of the piece and returning at the end, and (5) the use of textures as functional units such as beginnings, middles, and endings to clarify structure and further the dramatic intensity of the work. These analytic techniques are then applied to thirteen other representative instrumental works of Penderecki in texture style, including Anaklasis, Threnody for the Victims of Hiroshima, De Natura Sonoris, Partita, and the Symphony no. 1, the longest and last work in texture style. In an extensive analysis, the Symphony is found to be a compelling, masterful composition, containing clear motives created from textures and undergoing a myriad of transformations and metamorphoses. It is laid out in a sophisticated formal plan and is a drama of great power and scope. Paradoxically, it stands not only as Penderecki's last composition in texture style but also his finest. Finally, Penderecki's 1973 turn away from texture style is discussed through the examination of possible rationales for the profound change in style. Among the influences for change are the composer's experiences as a new conductor, beginning with the premier of the Symphony no. 1. The legacy of texture-style is discussed as conclusion.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Music. $3 516178
650 4 $a Biographies. $3 795061
653 $a Penderecki, Krzystof
653 $a Poland
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0413
690 $a 0304
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a Peabody Institute of the Johns Hopkins University. $3 1936698
773 0 $t Dissertations Abstracts International $g 76-02A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9427221 $z click for full text (PQDT)