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THE ROLE OF TEXTURE AND TIMBRE IN TH...

University of Kentucky.

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THE ROLE OF TEXTURE AND TIMBRE IN THE MUSIC OF GEORGE CRUMB.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	THE ROLE OF TEXTURE AND TIMBRE IN THE MUSIC OF GEORGE CRUMB./
作者:	OTT, DAVID LEE.
面頁冊數:	277 p.
附註:	Source: Dissertation Abstracts International, Volume: 44-09, Section: A, page: 2704.
Contained By:	Dissertation Abstracts International44-09A.
標題:	Education, Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=8401366

THE ROLE OF TEXTURE AND TIMBRE IN THE MUSIC OF GEORGE CRUMB.
OTT, DAVID LEE.

THE ROLE OF TEXTURE AND TIMBRE IN THE MUSIC OF GEORGE CRUMB. - 277 p.

Source: Dissertation Abstracts International, Volume: 44-09, Section: A, page: 2704.

Thesis (D.M.A.)--University of Kentucky, 1982.

A study of the roles of texture and timbre in the music of Crumb is undertaken by two major approaches. The first approach focuses on variations of timbre and reveals how these variations are used as compositional elements. Of special significance are subtle changes that occur when certain elements of a tone quality are changed. This is accomplished by characterizing passages according to the amount of variance of timbre in conjunction with the treatment of texture within the passage. Such passages are termed textural-timbral units and are categorized by their range of timbre: homotimbral, heterotimbral, and multitimbral. Each category is subcategorized according to its textural usage within the unit, i.e., monophonic, heterophonic, homophonic, and polyphonic. Chapters 2, 3, and 4 deal with homotimbral, heterotimbral, and multitimbral units respectively. Several other aspects related to textural-timbral units, including the means of progressing from unit to unit, the methods of creating cadences by textural means, and the use of textural-timbral interjections are contained in chapter 5.Subjects--Topical Terms:

1017808
Education, Music.

THE ROLE OF TEXTURE AND TIMBRE IN THE MUSIC OF GEORGE CRUMB.
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245 1 4 $a THE ROLE OF TEXTURE AND TIMBRE IN THE MUSIC OF GEORGE CRUMB.
300 $a 277 p.
500 $a Source: Dissertation Abstracts International, Volume: 44-09, Section: A, page: 2704.
502 $a Thesis (D.M.A.)--University of Kentucky, 1982.
520 $a A study of the roles of texture and timbre in the music of Crumb is undertaken by two major approaches. The first approach focuses on variations of timbre and reveals how these variations are used as compositional elements. Of special significance are subtle changes that occur when certain elements of a tone quality are changed. This is accomplished by characterizing passages according to the amount of variance of timbre in conjunction with the treatment of texture within the passage. Such passages are termed textural-timbral units and are categorized by their range of timbre: homotimbral, heterotimbral, and multitimbral. Each category is subcategorized according to its textural usage within the unit, i.e., monophonic, heterophonic, homophonic, and polyphonic. Chapters 2, 3, and 4 deal with homotimbral, heterotimbral, and multitimbral units respectively. Several other aspects related to textural-timbral units, including the means of progressing from unit to unit, the methods of creating cadences by textural means, and the use of textural-timbral interjections are contained in chapter 5.
520 $a The second approach deals with aspects of texture as it relates to structure. For this, three methods are used: first, a description of the content in twenty movements of Crumb's works which are then compared to other units within the movement in order to discover relationships on a sectional or subsectional level; second, a study of textural density for its growth or recession within a movement to reveal its bearing on form. For this, graphs indicate the relative strength of elements that affect textural density; third, a comparison is made of the content of sections to the density structure of those sections in order to discover any correlation between these aspects.
520 $a Conclusions about Crumb's style are drawn from the above approaches. They deal with the characteristics of textural-timbral units and other important stylistic elements, including melodic, harmonic and rhythmic elements as well as contrapuntal techniques and special devices. This section is included in chapter 6. A sketch of Crumb, based on a personal interview with the composer, is included in an appendix.
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