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Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope : = Art and Science in the Music of Gerard Grisey.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope :/
Reminder of title:	Art and Science in the Music of Gerard Grisey.
Author:	Arrell, Christopher Andrew.
Description:	1 online resource (234 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 64-06, Section: A.
Contained By:	Dissertations Abstracts International64-06A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9780493825809

Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope : = Art and Science in the Music of Gerard Grisey.
Arrell, Christopher Andrew.

Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope :Art and Science in the Music of Gerard Grisey. - 1 online resource (234 pages)

Source: Dissertations Abstracts International, Volume: 64-06, Section: A.

Thesis (D.M.A.)--Cornell University, 2002.

Includes bibliographical references

The first part of this dissertation is a portfolio of two compositions written during my doctoral studies at Cornell. Blackbirds is a setting of five poems from Wallace Stevens's Thirteen Ways of Looking at a Blackbird. There were two principal concerns while writing the work. The first was to broaden my harmonic and timbral vocabulary by my studies of spectral music. The second was to contrast complexities of meter and harmony with clear gestures and formal models in an attempt to avoid the double-edged sword of either too much predictability, and possible boredom, or too little predictability, and possible alienation. Argot is a setting of two poems by E. E. Cummings, f/eeble a blu and n// ot eth, that frame a movement for instruments alone. What attracted me to setting these poems is the layered aspect of their presentation: a surface of imaginary words formed by fracturing and remolding the original text; a middle ground of the pre-diffused words; and a background of interpretation. In my settings, I attempt to retain the layers, as follows. First, the soprano presents the surface layer by pronouncing the imaginary words phonetically. Second, word painting, slightly more abstract, provides a middle-ground layer. Finally, the background narrative of the music reflects my interpretation of the poems. The second part of this dissertation is a discussion of early spectral composition, with a focus on the music of Gerard Grisey. The first three chapters provide, respectively, an account of historical and aesthetic factors that shaped the movement, an explanation of pertinent research from the field of acoustics, and an overview of spectral techniques, including Grisey's approach to musical time. At the heart of the dissertation are detailed analyses of Grisey's Periodes and Partiels . Topics include natural and synthetic sound models, the dualities of harmonicity/inharmonicity and periodicity/aperiodicity, process and pre-audibility.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9780493825809Subjects--Topical Terms:

649088
Music.
Subjects--Index Terms:

ArgotIndex Terms--Genre/Form:

554714
Electronic books.

Part I. "Blackbirds" and "Argot". Part II. Pushing the Envelope : = Art and Science in the Music of Gerard Grisey.
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520 $a The first part of this dissertation is a portfolio of two compositions written during my doctoral studies at Cornell. Blackbirds is a setting of five poems from Wallace Stevens's Thirteen Ways of Looking at a Blackbird. There were two principal concerns while writing the work. The first was to broaden my harmonic and timbral vocabulary by my studies of spectral music. The second was to contrast complexities of meter and harmony with clear gestures and formal models in an attempt to avoid the double-edged sword of either too much predictability, and possible boredom, or too little predictability, and possible alienation. Argot is a setting of two poems by E. E. Cummings, f/eeble a blu and n// ot eth, that frame a movement for instruments alone. What attracted me to setting these poems is the layered aspect of their presentation: a surface of imaginary words formed by fracturing and remolding the original text; a middle ground of the pre-diffused words; and a background of interpretation. In my settings, I attempt to retain the layers, as follows. First, the soprano presents the surface layer by pronouncing the imaginary words phonetically. Second, word painting, slightly more abstract, provides a middle-ground layer. Finally, the background narrative of the music reflects my interpretation of the poems. The second part of this dissertation is a discussion of early spectral composition, with a focus on the music of Gerard Grisey. The first three chapters provide, respectively, an account of historical and aesthetic factors that shaped the movement, an explanation of pertinent research from the field of acoustics, and an overview of spectral techniques, including Grisey's approach to musical time. At the heart of the dissertation are detailed analyses of Grisey's Periodes and Partiels . Topics include natural and synthetic sound models, the dualities of harmonicity/inharmonicity and periodicity/aperiodicity, process and pre-audibility.
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