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The works for voice and piano of Luigi Dallapiccola : = An eclectic analysis.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	The works for voice and piano of Luigi Dallapiccola :/
Reminder of title:	An eclectic analysis.
Author:	Amato, Joseph.
Description:	1 online resource (156 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 60-07, Section: A.
Contained By:	Dissertations Abstracts International60-07A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9780599063419

The works for voice and piano of Luigi Dallapiccola : = An eclectic analysis.
Amato, Joseph.

The works for voice and piano of Luigi Dallapiccola :An eclectic analysis. - 1 online resource (156 pages)

Source: Dissertations Abstracts International, Volume: 60-07, Section: A.

Thesis (Ph.D.)--New York University, 1998.

Includes bibliographical references

This paper is an eclectic analysis of the two voice and piano compositions: Rencesvals (1946) and Quattro Liriche di Antonio Machado (1948) of Italian composer Luigi Dallapiccola. Both works are examined and treated in several topics of musical analysis including a multilayered syntactical analysis, text and musical representation, and other levels of musical reference. The music of Luigi Dallapiccola represents an expressive symbol of the cultural life in Italy during the first half of the twentieth century. Although Dallapiccola was greatly influenced by the Second Viennese School, his Italian heritage limited the extent of Vienna's influence and made him one of the first composers outside the Viennese tradition to absorb successfully the twelve-tone technique into his own style. Dallapiccola's music includes works for orchestra, chamber ensemble, piano solo and music for ballet and are characterized by a use of older forms. His music expresses perfect balance in its economy of form and extraordinary harmonic richness and beauty. Dallapiccola's unique twelve-tone language employs numerous tonal and modal elements, characteristic of the Classical and Romantic periods. Strict observance of note-rows is disregarded in the interests of expression and variety. Furthermore, he synthesizes Italian Renaissance and Bel Canto devices in his vocal writing which avoid the jagged intervals typical of the Viennese school. The result, vocal music characterized by an enormous facility in handling musical material which, in conjunction with an unerring sense of formal balance, is objectified in sharply profiled lyrical lines that conform to the natural fluctuations of the voice. Dallapiccola's highly personal idiom and concern for musical poetry of expressive purification symbolize a lifelong awareness of the personal, political and moral sufferings felt during his lifetime. The vehicle for expressing his thoughts and beliefs is found most notably in his vocal music. Two works symbolizing this sentiment are: Rencesvals (1946) for mezzo-soprano or baritone and piano and Quattro Liriche di Antonio Machado (1948) for soprano and piano. The compositional and textual significance of both vocal works confirms Dallapiccola's dominance as a major composer of the modern generation.

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

Mode of access: World Wide Web

ISBN: 9780599063419Subjects--Topical Terms:

649088
Music.
Subjects--Index Terms:

Dallapiccola, LuigiIndex Terms--Genre/Form:

554714
Electronic books.

The works for voice and piano of Luigi Dallapiccola : = An eclectic analysis.
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520 $a This paper is an eclectic analysis of the two voice and piano compositions: Rencesvals (1946) and Quattro Liriche di Antonio Machado (1948) of Italian composer Luigi Dallapiccola. Both works are examined and treated in several topics of musical analysis including a multilayered syntactical analysis, text and musical representation, and other levels of musical reference. The music of Luigi Dallapiccola represents an expressive symbol of the cultural life in Italy during the first half of the twentieth century. Although Dallapiccola was greatly influenced by the Second Viennese School, his Italian heritage limited the extent of Vienna's influence and made him one of the first composers outside the Viennese tradition to absorb successfully the twelve-tone technique into his own style. Dallapiccola's music includes works for orchestra, chamber ensemble, piano solo and music for ballet and are characterized by a use of older forms. His music expresses perfect balance in its economy of form and extraordinary harmonic richness and beauty. Dallapiccola's unique twelve-tone language employs numerous tonal and modal elements, characteristic of the Classical and Romantic periods. Strict observance of note-rows is disregarded in the interests of expression and variety. Furthermore, he synthesizes Italian Renaissance and Bel Canto devices in his vocal writing which avoid the jagged intervals typical of the Viennese school. The result, vocal music characterized by an enormous facility in handling musical material which, in conjunction with an unerring sense of formal balance, is objectified in sharply profiled lyrical lines that conform to the natural fluctuations of the voice. Dallapiccola's highly personal idiom and concern for musical poetry of expressive purification symbolize a lifelong awareness of the personal, political and moral sufferings felt during his lifetime. The vehicle for expressing his thoughts and beliefs is found most notably in his vocal music. Two works symbolizing this sentiment are: Rencesvals (1946) for mezzo-soprano or baritone and piano and Quattro Liriche di Antonio Machado (1948) for soprano and piano. The compositional and textual significance of both vocal works confirms Dallapiccola's dominance as a major composer of the modern generation.
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