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Temporality in the First Movement of Trio No.1 for Piano, Violin, and Cello (1954) by Leon Kirchner in Light of Jonathan Kramer's Approach to Temporal Study.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Temporality in the First Movement of Trio No.1 for Piano, Violin, and Cello (1954) by Leon Kirchner in Light of Jonathan Kramer's Approach to Temporal Study./
Author:	Yang, Huan.
Description:	1 online resource (118 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-10, Section: A.
Contained By:	Dissertations Abstracts International84-10A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9798379428419

Temporality in the First Movement of Trio No.1 for Piano, Violin, and Cello (1954) by Leon Kirchner in Light of Jonathan Kramer's Approach to Temporal Study.
Yang, Huan.

Temporality in the First Movement of Trio No.1 for Piano, Violin, and Cello (1954) by Leon Kirchner in Light of Jonathan Kramer's Approach to Temporal Study. - 1 online resource (118 pages)

Source: Dissertations Abstracts International, Volume: 84-10, Section: A.

Thesis (Mus.A.D.)--Texas Christian University, 2023.

Includes bibliographical references

This study aims to take a step toward a precise understanding of the first movement of Leon Kirchner's (1919-2009) Piano Trio No. 1, especially in the arrangement of the pitch centers and the specific function of every section, by applying Jonathan Kramer's (1942-2004) temporal study in his book Time of Music (1988). Chapter 1 introduces the reason for this study, the methodology, the goal of this study, and the structure of this thesis. Chapter 2 briefly reviews Kirchner's compositional style, based on existing studies. Chapter 3 discusses the essential content of Kramer's theory and the terms that appear in the rest of the paper. Chapter 4 consists of a detailed analysis of three discrete elements and a comprehensive analysis of the temporal structure of the first movement of Piano Trio No.1 by Kirchner. Chapter 5 provides a performance analysis of this piece, guided by the results of the previous chapters. Chapter 6concludes with the values and limitations of the application of temporal analysis. Practically, understanding the temporal structure of this idiosyncratic piece is essential for the performers in managing tempo, pacing climax(es), differentiating, and interpreting the characters of each subsection, and, thereby, cooperating with fellow performers.

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

Mode of access: World Wide Web

ISBN: 9798379428419Subjects--Topical Terms:

649088
Music.
Subjects--Index Terms:

Chamber musicIndex Terms--Genre/Form:

554714
Electronic books.

Temporality in the First Movement of Trio No.1 for Piano, Violin, and Cello (1954) by Leon Kirchner in Light of Jonathan Kramer's Approach to Temporal Study.
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520 $a This study aims to take a step toward a precise understanding of the first movement of Leon Kirchner's (1919-2009) Piano Trio No. 1, especially in the arrangement of the pitch centers and the specific function of every section, by applying Jonathan Kramer's (1942-2004) temporal study in his book Time of Music (1988). Chapter 1 introduces the reason for this study, the methodology, the goal of this study, and the structure of this thesis. Chapter 2 briefly reviews Kirchner's compositional style, based on existing studies. Chapter 3 discusses the essential content of Kramer's theory and the terms that appear in the rest of the paper. Chapter 4 consists of a detailed analysis of three discrete elements and a comprehensive analysis of the temporal structure of the first movement of Piano Trio No.1 by Kirchner. Chapter 5 provides a performance analysis of this piece, guided by the results of the previous chapters. Chapter 6concludes with the values and limitations of the application of temporal analysis. Practically, understanding the temporal structure of this idiosyncratic piece is essential for the performers in managing tempo, pacing climax(es), differentiating, and interpreting the characters of each subsection, and, thereby, cooperating with fellow performers.
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