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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.

Thesis (Ph.D.) - University of St Andrews, January 2007.

Thesis/Project (M.A.)--Humboldt State University, 2005. / Includes bibliographical references (leaves 97-103). Also available via the Internet from the Humboldt eScholar web site.

Thesis (Ph. D.)--University of Mississippi, 1982. / Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. [233]-250).

Thesis (Ph. D. in Leadership and Policy Studies)--Vanderbilt University, Dec. 2006. / Title from title screen. Includes bibliographical references.

Texte remanié de: Diss.--Universität Marburg, 1995. / Bibliogr. p. 241-257. Index.

What do Plato, Jean-Jacques Rousseau, Thomas Hobbes, Rene Descartes, John Locke, David Hume, Ludwig Wittgenstein, Gilbert Ryle, Immanuel Kant, and the Marquis de Sade have in common? Spanning centuries and - when it comes to Plato - millennia, they are key figures of Western philosophy who have discussed ideas of reality, knowledge, existence, the state of nature, and morality, ideas which are central to Angela Carter's novels. In this thesis, I position Carter as a (de)philosophiser, and argue that she deconstructs the pivotal theories of Western philosophy, while also philosophising on the same concepts, contributing a female voice to this overwhelmingly androcentric discipline. In doing so, I contribute the first in- depth discussion of Carter's philosophical intertextuality to Carter criticism, going beyond Carter's explicit references that, to date, have been acknowledged by Carter scholars; although this is an original topic, the originality of my argument is boosted by my references t) the archival material that comprises the Angela Carter Papers Collection. The thesis is structured according to Carter's engagement with the range of Western thinkers aforementioned, focusing on Plato's impact on Heroes and Villains (1969), The infernal Desire Machines of Doctor Hoffman (1972) and The Passion of New Eve (1977) in Chapter One, while Chapter Two is dedicated to Carter's analysis of Hobbes and Rousseau's arguments in Heroes and Villains. In Chapter Three I discuss Descartes (in relation to Doctor Hoffman), Locke (vis-a-vis Shadow Dance, 1966, New Eve, and Nights at the Circus, 1984), and Hume, with reference to Several Perceptions (1968) and Love (written 1969, published 1971). Wittgenstein and Ryle's impact on Doctor Hoffman and Carter's time in Japan are examined in Chapter Four. The fifth and final chapter concentrates on Carter and moral philosophy, paying particular attention to Kant and Sade and discussing Shadow Dance, Several Perceptions, and Love, as well as Doctor Hoffman and The Sadeian Woman (1979).

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

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