Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1975. / Typescript. Vita. Includes bibliographical references (leaves 95-96).

Thesis--Michigan State University, 1973. / Bibliography: leaves 139-140.

Thesis (D. Phil.)--Worcester College, Oxford, 1986. / Bibliography: p. 163-166.

Universiẗat, Diss., 1999--Bonn.

Th. Etat--Musicologie--Paris-4, 1998. / Catalogue des oeuvres d'E. Carter p. 459-468. Bibliogr. p. 411-446 et 468-485. Discogr. p. 452-459 et 485-486. Index.

Diss.--Phil.-Fak.--Köln--Univ., 1999. / Liste des oeuvres p. 440-442. Bibliogr. p. 449-468.

This analytical study of Elliott Carter's Piano Sonata focuses on middleground structural aspects found in the work such as phrases, phrase groupings, cadences and note collections. These are examined under four main headings: The Articulation of Phrases looks at the division of large passages into phrases, showing the various ways in which new phrases are marked. These include sudden changes in texture and register, restatements of thematic material, and recurring characteristics that appear at important cadential points. The Unification of Extended Passages by Middleground Stepwise Motion focuses on the rising linear motion that connects the individual phrases of many of these larger passages. Correlations between thematic material and phrase contours are also explored. The Relationship of Vertical Intervals and Note Collections to the Character and Phrase Rhythm of Particular Passages further examines phrase articulation by means of changes in note collections, with distinctions among phrases arising from the correlation of consonant vertical intervals with passages of linear motion and dissonant vertical intervals with passages that are more static. Anticipation and Overlapping of Materials describes an important aspect of the Sonata's overall structure in which themes and motives, as well as characteristic intervals of these materials are used to link the two movements of the work by a network of anticipations and flashbacks. An examination of the final climactic Maestoso section of the first movement (mm. 252-264) provides a summary of the various compositional aspects described in this study. / Arts, Faculty of / Music, School of / Graduate

No description available.

This study proposes a theory of texture for Elliott Carter's song cycle A Mirror on Which to Dwell. Texture is an important structural aspect of much recent music, as is exemplified in Carter's music. The first chapter is introductory and discusses other textural theories, and the concept of auditory streams. It also provides background to Elizabeth Bishop and to the poems that Carter selected for the cycle, and introduces the song cycle as a whole. The second chapter outlines a textural theory based on streaming. Texture is defined as comprising those contextually defined aspects of sound which lead one to perceive music as consisting of distinct streams. Individual streams are defined by properties, behaviours processes. The ways in which streams are combined, and the changes that occur in the streams during the combinations constitute textural behaviours and processes. The third chapter presents the ways in which textural behaviours and processes can function. They can have symbolic functions by representing personae and actions in the text. They can also have musical functions and thus can play a role in the delineation of form. In the fourth chapter each song in the Mirror cycle is analyzed. Songs that are texturally clear are analyzed first, followed by those that are more texturally complex. Because of the close relationship between text and music in these songs, each analysis starts with a discussion of the text before turning to the music. The main textural features of each song are presented, and then the analytical discussion focuses on form and text-setting. In the conclusion an overview of the songs is presented. The songs, although formally diverse, are similar in many respects. In all of them Carter establishes the important streams, some of which have significant symbolic roles, in the opening measures. The songs are characterized by similar textural processes, which help to delineate the form of the songs and to portray musically the meaning of the text. An analysis of these songs using the textural theory presented in this study provides insight into their form and meaning.

This study proposes a theory of texture for Elliott Carter's song cycle A Mirror on Which to Dwell. Texture is an important structural aspect of much recent music, as is exemplified in Carter's music. The first chapter is introductory and discusses other textural theories, and the concept of auditory streams. It also provides background to Elizabeth Bishop and to the poems that Carter selected for the cycle, and introduces the song cycle as a whole. The second chapter outlines a textural theory based on streaming. Texture is defined as comprising those contextually defined aspects of sound which lead one to perceive music as consisting of distinct streams. Individual streams are defined by properties, behaviours processes. The ways in which streams are combined, and the changes that occur in the streams during the combinations constitute textural behaviours and processes. The third chapter presents the ways in which textural behaviours and processes can function. They can have symbolic functions by representing personae and actions in the text. They can also have musical functions and thus can play a role in the delineation of form. In the fourth chapter each song in the Mirror cycle is analyzed. Songs that are texturally clear are analyzed first, followed by those that are more texturally complex. Because of the close relationship between text and music in these songs, each analysis starts with a discussion of the text before turning to the music. The main textural features of each song are presented, and then the analytical discussion focuses on form and text-setting. In the conclusion an overview of the songs is presented. The songs, although formally diverse, are similar in many respects. In all of them Carter establishes the important streams, some of which have significant symbolic roles, in the opening measures. The songs are characterized by similar textural processes, which help to delineate the form of the songs and to portray musically the meaning of the text. An analysis of these songs using the textural theory presented in this study provides insight into their form and meaning. / Arts, Faculty of / Music, School of / Graduate