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

Elliott Carter frequently organizes the formal design of his compositions with long-range polyrhythms, such that different parts of the texture move at different, slow tempi, often arranged so that their beats coincide exactly twice, at the beginning and the end of the piece. Many theorists have commented on these tempo ratios, and pointed out how they are manifested, on a smaller time scale, in each instrument’s notated beat divisions. However, building on the work of Link and Roeder, this paper shows that in Esprit Rude/Esprit Doux, Esprit Rude/Esprit Doux II, and Retrouvailles, pieces Carter dedicated to Pierre Boulez, the polyrhythms also guide the interactive behaviour of the instruments. Furthermore, it shows that although these works are all independently complete and coherent, together they can be understood as three movements of a trilogy, whereby the progression from simultaneous melodic parts that run independently of one another in Esprit I to the near-monophonic melody lines in Retrouvailles, as well as the increase in cooperative activity (for example, melody-sharing, and the mutual building of important harmonies) represent a theme of growing reconciliation.

Elliott Carter frequently organizes the formal design of his compositions with long-range polyrhythms, such that different parts of the texture move at different, slow tempi, often arranged so that their beats coincide exactly twice, at the beginning and the end of the piece. Many theorists have commented on these tempo ratios, and pointed out how they are manifested, on a smaller time scale, in each instrument’s notated beat divisions. However, building on the work of Link and Roeder, this paper shows that in Esprit Rude/Esprit Doux, Esprit Rude/Esprit Doux II, and Retrouvailles, pieces Carter dedicated to Pierre Boulez, the polyrhythms also guide the interactive behaviour of the instruments. Furthermore, it shows that although these works are all independently complete and coherent, together they can be understood as three movements of a trilogy, whereby the progression from simultaneous melodic parts that run independently of one another in Esprit I to the near-monophonic melody lines in Retrouvailles, as well as the increase in cooperative activity (for example, melody-sharing, and the mutual building of important harmonies) represent a theme of growing reconciliation.

Elliott Carter frequently organizes the formal design of his compositions with long-range polyrhythms, such that different parts of the texture move at different, slow tempi, often arranged so that their beats coincide exactly twice, at the beginning and the end of the piece. Many theorists have commented on these tempo ratios, and pointed out how they are manifested, on a smaller time scale, in each instrument’s notated beat divisions. However, building on the work of Link and Roeder, this paper shows that in Esprit Rude/Esprit Doux, Esprit Rude/Esprit Doux II, and Retrouvailles, pieces Carter dedicated to Pierre Boulez, the polyrhythms also guide the interactive behaviour of the instruments. Furthermore, it shows that although these works are all independently complete and coherent, together they can be understood as three movements of a trilogy, whereby the progression from simultaneous melodic parts that run independently of one another in Esprit I to the near-monophonic melody lines in Retrouvailles, as well as the increase in cooperative activity (for example, melody-sharing, and the mutual building of important harmonies) represent a theme of growing reconciliation. / Arts, Faculty of / Music, School of / Graduate

Thesis (D. Mus. Arts)--University of Washington, 1992. / Vita. Includes bibliographical references (leaves [245]-247).

The lecture recital was given January 22, 1977. A discussion of Elliott Carter's Piano Sonata emphasized those compositional techniques which foreshadowed important compositional procedures in many of his later works. The following compositions were discussed: Concerto for Orchestra, Double Concerto for Harpsichord and Piano with Two Chamber Orchestras, 8 Etudes and a Fantasy for Woodwind Quartet, Holiday Overture, Piano Concerto, Sonata for Flute, Oboe, Cello, and Harpsichord, Sonata for Violoncello and Piano, String Quartet No. 1, String Quartet No. 2, String Quartet No. 3, Variations for Orchestra. The Piano Sonata was Ty and Schumann. In addition to the lecture recital, three public solo recitals were performed. The first solo recital, performed on April 2, 1973, consisted of works by Bartok, Debussy The second solo recital, performed on October 28, 1974, included works by Bach and Liszt. The final solo recital, performed on March 7, 1976, consisted of works by Beethoven and Chopin. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation. performed.

Intricate Maneuvers is a series of musical works that were composed using movement as a model for compositional processes and forms. This essay presents in-depth analyses of three works from the series; Fidget, Sway: The Mildest Form of Falling, and Swerve for Chamber Ensemble. The analysis of each work highlights correlations between the musical characteristics of that work and the temporal, spatial, contextual, and psychological implications of the motion after which it was modeled. The third chapter also demonstrates the ways in which the creation of Sway was influenced by materials and processes taken from Ruth Crawford's String Quartet 1931. In order to investigate the question of how life experiences can function as models for compositional processes, the essay examines precedents for the compositional modeling of extra-musical ideas and images in the works of Bed?ich Smetana, Elliott Carter and Roger Reynolds. It also discusses approaches to modeling movement in music created for dance. Throughout the Intricate Maneuvers series, movement is modeled not merely to create an association between a musical work and a particular movement pattern, but rather to infuse the compositions with the dynamism that defines a particular kinetic experience.

For the purposes of expressive intent, Carter developed compositional strategies that possess qualities congruent with the musical language in his Second Quartet (1959). He employed strategies including tempo modulation, triple groupings, and large-scale ratios to assemble the musical discourse and to guide the listener's perception of large-scale continuity. I label these devices collectively as "preferential strategies" because it is Carter who selects certain pre-compositional ideas that organize musical material and demarcate structural locations. Tempo modulations that organize dual meters and triple groupings that interact in transitional and transformational ways demonstrate his concern with controlling the overall time continuity through local level organization. Large-scale ratio relations between nine interlocking sections of this four movement work illustrate how Carter employs a local strategy that projects a large-scale structure. Recognizing that Carter's ultimate compositional goal prioritizes temporal processes, these proposed preferred strategies articulate a convergence of musical elements.

No description available.

Master of Music / Department of Music / Kurt R. Gartner / This is a report intended for musicians planning to perform any number of, or scholars seeking to enrich understanding of, the following compositions: Concerto for Marimba and Wind Ensemble by David Gillingham, XL Plus One by Alvin Etler, March from Eight Pieces for Four Timpani by Elliott Carter, 42nd Street Rondo by Wayne Siegel, and Oceanus by Steve Houghton and Wendell Yuponce. Each work is analyzed in accordance with Jan Larue's method of style analysis. For some compositions, analysis of harmony has been omitted. For all compositions, the author has added a pedagogical realm of analysis, dedicated to notable performance considerations, interpretive possibilities, and technical considerations, to Larue's organizational scheme. Therefore, the approach taken in this document can be expressed as: Sound, Harmony, Melody, Rhythm, Growth, and Performance.