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Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960./
作者:	Venturino, Stephanie.
面頁冊數:	1 online resource (372 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-03, Section: A.
Contained By:	Dissertations Abstracts International84-03A.
標題:	Music theory. -
電子資源:	click for full text (PQDT)
ISBN:	9798845416360

Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960.
Venturino, Stephanie.

Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960. - 1 online resource (372 pages)

Source: Dissertations Abstracts International, Volume: 84-03, Section: A.

Thesis (Ph.D.)--University of Rochester, 2022.

Includes bibliographical references

This dissertation examines dualist engagements with the phenomenon of resonance in French music and music theory from 1900 to 1960. A long-standing interest for French composers and music theorists, resonance-whether defined as sympathetic resonance or as the simultaneous production of a fundamental and its upper or lower partials-represents a particularly important touchstone during this period. I focus on the latter definition, exploring how resonance-based thinking conditions both French music-theoretical thought and compositional practice.Chapter 1 investigates Vincent d'Indy's harmonic dualism, which synthesizes and transforms the dualisms of Hugo Riemann and Arthur von Oettingen to produce a complex system rooted in resonance. Beyond its merit as music theory, d'Indy's approach has historical significance, initiating a French interest in dualism reaching into the mid-twentieth century. Chapter 2 focuses on two of d'Indy's most important frameworks, both derived from resonance: his theories of directed fifths and order relationships. I develop and use related analytical technologies-double-ring circles of fifths and d'Indy order spaces-to analyze small-scale harmonic progressions, large-scale key areas, and symmetrical structures in his music.Chapters 3 and 4 explore dualist music theories after d'Indy, each viewed through the lens of resonance. Chapter 3 discusses dualist approaches that engage directly with d'Indy's work; Chapter 4 examines dualist methods that either engage with German sources or declare no sources at all. Beyond demonstrating the prevalence and significance of French harmonic dualism, these diverse approaches raise important questions about the very nature of dualism itself.Chapter 5 shows how a tendency for dualist thinking surfaces in contemporaneous compositional practice. I explore Andre Jolivet's resonance-based "double bass" and "lower resonance" concepts, which combine with his pivot-note technique; I apply them to his piano suite Mana (1935). I also investigate Dane Rudhyar's notions of "tone," "consonant order," and "dissonant order," which link to the overtone and undertone series, as well as cycles of perfect fourths or fifths. I apply them to "Reaching Out" from his Second Pentagram (1924-26) for piano. The chapter provides insight into Jolivet's and Rudhyar's compositional practices and links their methods-normally considered in isolation-to coeval dualist trends.

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

Mode of access: World Wide Web

ISBN: 9798845416360Subjects--Topical Terms:

564045
Music theory.
Subjects--Index Terms:

Jolivet, AndreIndex Terms--Genre/Form:

554714
Electronic books.

Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960.
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520 $a This dissertation examines dualist engagements with the phenomenon of resonance in French music and music theory from 1900 to 1960. A long-standing interest for French composers and music theorists, resonance-whether defined as sympathetic resonance or as the simultaneous production of a fundamental and its upper or lower partials-represents a particularly important touchstone during this period. I focus on the latter definition, exploring how resonance-based thinking conditions both French music-theoretical thought and compositional practice.Chapter 1 investigates Vincent d'Indy's harmonic dualism, which synthesizes and transforms the dualisms of Hugo Riemann and Arthur von Oettingen to produce a complex system rooted in resonance. Beyond its merit as music theory, d'Indy's approach has historical significance, initiating a French interest in dualism reaching into the mid-twentieth century. Chapter 2 focuses on two of d'Indy's most important frameworks, both derived from resonance: his theories of directed fifths and order relationships. I develop and use related analytical technologies-double-ring circles of fifths and d'Indy order spaces-to analyze small-scale harmonic progressions, large-scale key areas, and symmetrical structures in his music.Chapters 3 and 4 explore dualist music theories after d'Indy, each viewed through the lens of resonance. Chapter 3 discusses dualist approaches that engage directly with d'Indy's work; Chapter 4 examines dualist methods that either engage with German sources or declare no sources at all. Beyond demonstrating the prevalence and significance of French harmonic dualism, these diverse approaches raise important questions about the very nature of dualism itself.Chapter 5 shows how a tendency for dualist thinking surfaces in contemporaneous compositional practice. I explore Andre Jolivet's resonance-based "double bass" and "lower resonance" concepts, which combine with his pivot-note technique; I apply them to his piano suite Mana (1935). I also investigate Dane Rudhyar's notions of "tone," "consonant order," and "dissonant order," which link to the overtone and undertone series, as well as cycles of perfect fourths or fifths. I apply them to "Reaching Out" from his Second Pentagram (1924-26) for piano. The chapter provides insight into Jolivet's and Rudhyar's compositional practices and links their methods-normally considered in isolation-to coeval dualist trends.
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