Gloag, Kenneth. "Structure, Syntax and Style in the Music of Stravinsky"
AUTHOR: Gloag, Kenneth TITLE: Structure, Syntax and Style in the Music of Stravinsky INSTITUTION: University of Exeter BEGUN: October 1991 COMPLETION: FEBRUARY 1995 ABSTRACT: This thesis involves detailed analytical discussions of a selection of Stravinsky's major works. The analyses are concerned with structural processes which can be related to Stravinsky's metaphor of polarity and the specific details of his harmonic syntax. Emerging from this analytical process is a concern with the question of continuities across the works which are considered as being representative of Stravinsky's three stylistic periods. The works selected for discussion are Petrushka, which represents the Russian period, the Serenade and Dumbarton Oaks reflect the concerns of the neoclassical period and the late serial works are represented by In Memoriam Dylan Thomas and Requiem Canticles. The consideration of continuity leads to a discussion of the relationship between the accumulated analytical details and the problems of defining and identifying musical style. Keywords: Theory, Analysis, Style (Barthes/Meyer), Salience, Prolongation, Continuity. TOC: Chapter 1: Theoretical Contexts and Analytical Strategies Chapter 2: Theoretical Framework (1) Chapter 3: Petrushka (part two) Chapter 4: Petrushka (part three) Chapter 5: Serenade (first movement) Chapter 6: Dumbarton Oaks (first movement) Chapter 7: In Memoriam Dylan Thomas Chapter 8: Requiem Canticles Chapter 9: Theoretical Framework (2): Implications CONTACT: Dr Kenneth Gloag Department of Music University of Wales College of Cardiff Corbett Road Cardiff CF1 3EB telephone: 01222 874386 e-mail: smukg@cardiff.ac.uk
AUTHOR: Thomas, Margaret E. TITLE: Conlon Nancarrow's 'Temporal dissonance': Rhythmic and Textural Stratification in the Studies for Player Piano INSTITUTION: Yale University BEGUN: September 1992 COMPLETION: March 1996 ABSTRACT: The Studies for Player Piano of Conlon Nancarrow (b. 1912) are rhythmically and texturally complex works that exemplify Nancarrow's aesthetic goal of "temporal dissonance": two or more seemingly uncoordinated streams of music are presented simultaneously. His use of asynchronicity places him as a central figure within a group of innovative twentieth-century composers who similarly expand and elevate rhythmic practice, including Ives, Cowell, Carter, and Ligeti. But Nancarrow's fundamental concept of temporal dissonance remains largely undeveloped. This dissertation explores the rhythmic and textural techniques of the studies in general, and Nancarrow's temporal dissonance in particular. KEYWORDS: Conlon Nancarrow, rhythmic stratification, texture, player piano, temporal dissonance TOC: I. Introduction; II. Temporal Stratification in the Works of Other Composers; III. Multidimensionality and Textural Strategies; IV. Temporal Dissonance; V. Study No. 41; VI. Concluding Remarks CONTACT: 16 Clay St., North Brunswick, NJ 08902; phone numbers: (908) 932-6873, (908)821-1507
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