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Metric Experiments in Benjamin Britten's Vocal Music : = 1943-1945.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Metric Experiments in Benjamin Britten's Vocal Music :/
其他題名:	1943-1945.
作者:	Duncan, Stuart Paul.
面頁冊數:	1 online resource (198 pages)
附註:	Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780355105346

Metric Experiments in Benjamin Britten's Vocal Music : = 1943-1945.
Duncan, Stuart Paul.

Metric Experiments in Benjamin Britten's Vocal Music :1943-1945. - 1 online resource (198 pages)

Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.

Thesis (Ph.D.)--Yale University, 2017.

Includes bibliographical references

1942 was a pivotal juncture in Benjamin Britten's career. Originally, he had planned to emigrate to the United States of America, but after staying a few years, he unexpectedly returned to England in 1942. Upon leaving America's shores, his compositional scores and sketches were confiscated by US Customs. This confiscation, on the one hand, disrupted a smooth transition back to the United Kingdom, but on the other, presented the opportunity for a fresh compositional start. In the years directly following his return, 1943 to 1945, Britten's vocal music is full of metric complexity, suggesting a captivation with metric experimentation. The Ballad of Little Musgrave and Lady Barnard (1943), Festival Te Hein. (1944), the Holy Sonnets of John Donne (1945), and Peter Grimes (1945), diverse in their musical construction and distinct in the types of texts set, share a central compositional concern: the employment of sustained metric conflict as a means of emphasizing structural junctures or poetic ideas. This dissertation presents an overview of metric and hypermetric displacement and grouping conflicts, demonstrating how Britten establishes, sustains, and problematizes meter for expressive and text-interpretative purposes. The methodology employed here draws upon developments in metric theory over the past thirty years, and builds upon analyses that foreground cognitive, performative, and spatial representation.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780355105346Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Metric Experiments in Benjamin Britten's Vocal Music : = 1943-1945.
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500 $a Source: Dissertation Abstracts International, Volume: 78-11(E), Section: A.
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502 $a Thesis (Ph.D.)--Yale University, 2017.
504 $a Includes bibliographical references
520 $a 1942 was a pivotal juncture in Benjamin Britten's career. Originally, he had planned to emigrate to the United States of America, but after staying a few years, he unexpectedly returned to England in 1942. Upon leaving America's shores, his compositional scores and sketches were confiscated by US Customs. This confiscation, on the one hand, disrupted a smooth transition back to the United Kingdom, but on the other, presented the opportunity for a fresh compositional start. In the years directly following his return, 1943 to 1945, Britten's vocal music is full of metric complexity, suggesting a captivation with metric experimentation. The Ballad of Little Musgrave and Lady Barnard (1943), Festival Te Hein. (1944), the Holy Sonnets of John Donne (1945), and Peter Grimes (1945), diverse in their musical construction and distinct in the types of texts set, share a central compositional concern: the employment of sustained metric conflict as a means of emphasizing structural junctures or poetic ideas. This dissertation presents an overview of metric and hypermetric displacement and grouping conflicts, demonstrating how Britten establishes, sustains, and problematizes meter for expressive and text-interpretative purposes. The methodology employed here draws upon developments in metric theory over the past thirty years, and builds upon analyses that foreground cognitive, performative, and spatial representation.
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538 $a Mode of access: World Wide Web
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