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The pitch structure in Edgard Varese...

Yang, Yong.

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The pitch structure in Edgard Varese's "Octandre".

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The pitch structure in Edgard Varese's "Octandre"./
作者:	Yang, Yong.
面頁冊數:	82 p.
附註:	Adviser: Martin Boykan.
Contained By:	Dissertation Abstracts International57-01A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=9614447

The pitch structure in Edgard Varese's "Octandre".
Yang, Yong.

The pitch structure in Edgard Varese's "Octandre". - 82 p.

Adviser: Martin Boykan.

Thesis (Ph.D.)--Brandeis University, 1995.

In "The Liberation of Sound," Varese describes harmonic and rhythmic motions in his music in terms of "planes," "speeds," and "angles," and uses the verb "project" to represent process of interaction of various compositional elements. This paper focuses on a pitch cell and a rhythmic cell, that are "projected" into local and larger pitch structures, motivic elements, rhythmic organization, and formal structure.Subjects--Topical Terms:

516178
Music.

The pitch structure in Edgard Varese's "Octandre".
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245 1 4 $a The pitch structure in Edgard Varese's "Octandre".
300 $a 82 p.
500 $a Adviser: Martin Boykan.
500 $a Source: Dissertation Abstracts International, Volume: 57-01, Section: A, page: 0026.
502 $a Thesis (Ph.D.)--Brandeis University, 1995.
520 $a In "The Liberation of Sound," Varese describes harmonic and rhythmic motions in his music in terms of "planes," "speeds," and "angles," and uses the verb "project" to represent process of interaction of various compositional elements. This paper focuses on a pitch cell and a rhythmic cell, that are "projected" into local and larger pitch structures, motivic elements, rhythmic organization, and formal structure.
520 $a The opening chromatic tetrachord G$\flat$-F-E-D$\sharp$ in the oboe creates trichordal pitch structures and is prolonged in larger pitch structure, which includes a diminished triads: F$\sharp$-A-C. The first movement also introduces a new rhythmic figure--four attacks arranged in triplets and 16ths in the flute in m. 11. Like the chromatic tetrachord in the beginning, this rhythmic figure becomes an important element in this piece--a rhythmic cell.
520 $a The Second Movement presents some "unrelated elements that intervene at calculated, but not regular, time-lapses." This is shown in two rhythmic sections (ms. 17-35 and ms. 50-66), where static pitch structure and rhythmic action stay together. The rhythmic patterns are arranged in certain ratio changes to show rhythmic development.
520 $a The strong tritone relation in the first movement appears between the end of the first movement and the beginning of the second movement, where the piccolo plays a chromatic three-note figure, E-F-G$\flat.$ The tritone relations are also presented vertically in the outer voices and involves in octave transpositions in the background structure.
520 $a The Third Movement contains not only the elements and gestures from the first two movements, but also the continuity, therefore a single utterance is revealed in these movements. The third movement continues the prolonged B from the second movement. It leads to the fugato from m. 9 onward then to a diminished triad in m. 18--similar to the background diminished triad in the first movement. The two rhythmic sections are parallel to those in the second movement; they actually serve as different sections in a single movement.
590 $a School code: 0021.
650 4 $a Music. $3 516178
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710 2 $a Brandeis University. $3 1017415
773 0 $t Dissertation Abstracts International $g 57-01A.
790 $a 0021
790 1 0 $a Boykan, Martin, $e advisor
791 $a Ph.D.
792 $a 1995
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=9614447