Repetition is a ubiquitous compositional technique in Philip Glass's music. Repetition of specific gestures is used to mark regularly recurring structural points, which in turn affects the way a listener groups musical structures. The intent of this paper is to discuss grouping theories that have specific application to minimalist music, and to attempt to refine certain aspects of these theories, specifically those engaging the various functions of events within groups in terms of their roles as beginnings, middles and endings. Glass's Strung Out will be the principal analytical subject. Further implications of grouping functions of pitches are discussed in the concluding chapter, where memory and anticipation are seen to play a role in the listening experience, as a listener attempts to understand and appreciate the piece as a whole.

Repetition is a ubiquitous compositional technique in Philip Glass's music. Repetition of specific gestures is used to mark regularly recurring structural points, which in turn affects the way a listener groups musical structures. The intent of this paper is to discuss grouping theories that have specific application to minimalist music, and to attempt to refine certain aspects of these theories, specifically those engaging the various functions of events within groups in terms of their roles as beginnings, middles and endings. Glass's Strung Out will be the principal analytical subject. Further implications of grouping functions of pitches are discussed in the concluding chapter, where memory and anticipation are seen to play a role in the listening experience, as a listener attempts to understand and appreciate the piece as a whole. / Arts, Faculty of / Music, School of / Graduate

Philip Glass (b. 1937) composed several works in the 1980s involving elements of film and opera. In the ensuing decade, he continued to explore new means of expression targeted for the stage. The operatic works that comprise his “Cocteau trilogy” reflect this ongoing focus. This thesis analyzes how Jean Cocteau’s earlier films are altered in Glass’s operas, focusing on the role of music in the process of adaptation. As case studies, I explore Orphée (1992), a straightforward operatic production adapted from Cocteau’s 1950 film of the same name, and La Belle et la Bête (1994), an opera for ensemble and film adapted from the 1946 motion picture. / The methodological frame is rooted in Linda Hutcheon’s theory of adaptation, which centers on conceptions of genre in the process of change. For adaptations from film to opera, Hutcheon’s theory offers two important terms that reflect her “dual-vision” in defining adaptation: “product” and “process.” Applied to Orphée and La Belle et la Bête, this model offers fresh insights into Glass’s creative approach. Insights relating to Orphée include (1) the reconstruction of the film’s dramatic structure in the opera based on the original cinematic scenes, (2) the accentuation of important scenes in the opera, and (3) musical allusions that create historical layers between the source texts and the adaptation. Discussion of La Belle et la Bête targets its hybrid performance form as well as recurring motifs that unveil aspects of Glass’s re-interpretation of the well-known fairy tale.Following Hutcheon’s framework for approaching cross-genre transitions, I contend that the process of adaptation in Orphée and La Belle et la Bête points to intertextuality as a central feature of Glass’s compositions from this period. / 菲利普‧格拉斯（b. 1937）于上世紀80年代創作了涵蓋電影和歌劇元素的作品，並于接下的十年中陸續探索新的舞台表現形式。由歌劇作品組成的“尚高克多三部曲”(“Cocteau trilogy”)正是這一主題的重要體現。此論文通過對音樂在改編過程中的角色變化以分析由高克多早期電影至格拉斯的歌劇的體裁轉換。與直接由高克多1950年的同名電影改編而成的歌劇《奧爾菲》(Orphée)一樣，根據與其1946所拍的《美女與野獸》(La Belle et la Bête)同名的歌劇亦是本文的研究案例。 / 本論文的理論框架來自琳達‧赫琦安(Linda Hutcheon)的改編理論。她的理論主要關注“體裁”(genre)這一觀念在改編過程中所發生的變化。對於由電影改編至歌劇的議題，赫琦安提供了兩個重要的理念：“製成品”(product)與“過程”(process)。這兩個概念反映了她在定義“改編”(adaptation)這一理念中所涉及的“雙重視覺”(“double-vision”)。在分析《奧菲斯》和《美女與野獸》的過程中，此模式為分析格拉斯的創新性改編提供了全新的分析視角。通過借助赫琦安的理論，《奧菲斯》體現出以下幾點：（1）電影的戲劇結構基於原電影段落基礎上的重建；（2) 對於歌劇中重要情節的突顯；(3)使用音樂指涉用於揭示原文本與改編文本中的歷史層次。尤其對《美女與野獸》而言，其後現代的表演方式和再現動機的運用揭示了格拉斯對此童話的重新演繹。根據赫琦安在關於跨媒介轉換中所提出的規則，我認為格拉斯的《奧菲斯》和《美女與野獸》的改編過程足以證明了互文性是為格拉斯于此創作時期的主要特點。 / Liang, Danni. / Thesis M.Phil. Chinese University of Hong Kong 2014. / Includes bibliographical references (leaves 93-98). / Abstracts also in Chinese. / Title from PDF title page (viewed on 12, September, 2016). / Detailed summary in vernacular field only. / Detailed summary in vernacular field only.

System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 47-53).

‘...and one of time.' is a reinterpretation of a small musical moment from Philip Glass' opera, Einstein on the Beach, centered around the phrase "Berne, Switzerland 1905." This reinterpretation is realized through the use of several different compositional techniques including spectral composition, micropolyphony and dodecaphony, as well as the application of extra-musical models developed by Alan Lightman, John Gardner, Italo Calvino and Albert Einstein.

Philip Glass's minimalist opera The Voyage commemorates the 500th Anniversary of Christopher Columbus's discovery of America. In the opera, Philip Glass, like other composers, expresses singers' and non-singers' words and activities by means of melodies, rhythms, chords, textures, timbres, and dynamics. In addition to these traditional musical expressions, successions of reiterating materials (RMs, two or more iterations of materials) and non reiterating materials (NRMs) become new musical expressions. However, dividing materials into theses two categories only distinguishes NRMs from RMs without exploring relations among them in successions. For instance, a listener cannot perceive the functional relations between a partial iteration of the RM and the NRM following the partial RM because both the partial RM and the NRM are NRMs. As a result, a listener hears a succession of NRM followed by another NRM. When an analyst relabels the partial RM as partial loop, and the NRM following the partial RM as loop breaker, a listener hears the NRM as a loop breaker causing a partial loop. The musical functions of loops and loop breakers concern a listener's expectations of the creation, sustaining, departure, and return to the norm in successions of loops and loop breakers. When a listener associates the satisfaction and dissatisfaction of these expectations with dramatic devices such as incidents, words in dialogues and soliloquies, and activities by singers and non-singers, loops and loop breakers in successions become dramatically functional. This dissertation explores the relations among musical and dramatic functions of loops and loop breakers in Glass's musical commemoration of Columbus.

This work deals with the complex by treatment staging all the necessary components of the hand of the performance. Copy and analysis of already existing staging in America, the issue of homosexuality and transferring it into the artistic components of a dramatic situation, overhead construction and the creation of specific images and historical sources relevant to the concrete subject. The last section is devoted to the complete concept of staging the stage design and the costume design perception of music, moods and specific images.

Philip Glass' Glassworks (1981) is a six-movement composition for two flutes, two soprano saxophones/clarinets, two tenor saxophones/bass clarinets, two French horns, violas, cellos, and the DX7 electric piano. Glassworks consists of six movements titled "Opening," "Floe," "Island," "Rubric," "Facades," and "Closing." This thesis covers the first movement "Opening." Repetition in musical minimalism confronts traditional prescriptive codes of tonal music and post-tonal music. While challenging the traditional codes, repetition in musical minimalism established new codes for listening to minimal music. This thesis explores the implications of these ideas.

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-06Bitstream added on 2014-06-13T20:35:54Z : No. of bitstreams: 1 lancia_jc_me_ia.pdf: 1949570 bytes, checksum: de65c06be1d96f797a0b1521e72e719c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O minimalismo musical de La Monte Young, Terry, Riley, Steve Reich e Philip Glass foi chamado, entre outros rótulos, de música repetitiva, modular, de pulsação, de processos e estática – e, portanto, não-teleológica – antes que o termo minimalismo prevalecesse. Uma vez que tais termos não são infundados e refletem características percebidas no minimalismo, este trabalho tenta definir as idéias por trás desses rótulos. O trabalho também discute os procedimentos mais típicos adotados por cada um dos quatro compositores mencionados, apontando as mudanças de feições na produção desses compositores entre as décadas de 1960 e 70, período normalmente utilizado como referência para estudos. / The musical minimalism of La Monte Young, Terry, Riley, Steve Reich and Philip Glass had been called, among other labels, repetitive, modular, pulse, process, and static – and as a result, a-teleological – music before the name minimalism finally caught on. Since those labels reflect, at least in part, some of the features commonly found in the style, this study attempts to define the concepts behind such labels. This work also discusses some of the most typical procedures adopted by the four composers aforementioned, pointing their changing style during the 1960s and 70s, period often used as a reference for studies.

David Koepp's Secret Window was released by Columbia Pictures in 2004. The film's score was written by Philip Glass and Geoff Zanelli. This thesis analyzes transcriptions from six scenes within the film in conjunction with movie stills from those scenes in an attempt to explain how the film score functions.