Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 170-173).

Thesis (Ph. D.)--Ohio State University, 2007. / Includes bibliographical references (p. 170-173). Also issued online.

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The purpose of this document is to provide a recording and a performer’s analysis of the piano work titled Partita-Variations by American composer George Rochberg, as well as to provide an accessible guide for the pianist in understanding his role as a musician of the twenty-first century. Partita-Variations for Piano Solo, composed in 1976, is a large-scale keyboard work that features a juxtaposition of two different musical genres (partita and variations) and consists of twelve variations on a theme. Chapter One presents an introductory statement of the need and the purpose of the study, including an introduction, review of the literature, methodology, and organization. Chapter Two consists of two parts: an overview of Rochberg’s compositional techniques and styles, and a survey of Rochberg’s published works for solo piano. Rochberg experimented with various musical styles and techniques over the course of his career. His style evolved in the mid-1960s from serialism to conventional tonal idioms to create a unique and expressive voice in the twentieth-century. The chapter concludes with a brief discussion of the musical characteristics of each of Rochberg’s published solo keyboard works. Chapter Three is devoted to an analysis and interpretation of the Partita-Variations. The analysis focuses on characteristics such as harmony, texture, form, referenced musical styles, quotation technique, and specific thematic relationships of the pieces. Chapter Four summarizes the analysis of Partita-Variations and concludes with observations on how Rochberg absorbs and transforms musical elements from the past within his own distinctly twentieth-century approach. Finally, a recording of Rochberg’s Partita- Variations is provided as an aid for performance interpretation. / School of Music

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This thesis centers around a certain twentieth-century compositionaI device, the method of composition with twelve tones. There are many terms to designate this device, for example: "basic set," "tone-row," "note-series," "serialism," "serial technique," "twelve-note series," "twelve-tone technique" or "twelve-tone method." TI is thesis is a methodical research demonstrating the contemporary conventional way of scientifically and artfully manipulating twelve equal tempered degrees of the chromatic scale to produce a desirable system. In order to arrive at any substantial conclusions, it is necessary to make a critical examination and evaluation of known twelve-tone compositional procedures from as many angles as possible, so as virtually to exhaust every practical and speculative potentiality included in the technique, that is, within the range and limits of our present needs. This examination and evaluation will also involve a comparative investigation of various uses of the device, in order to produce and suggest ideas for further theoretical insights. The ultimate purpose of this thesis is to pinpoint the "hows" and "whys" of Rochberg's use of the twelve equal tones in Sonata-Fantasia.

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This thesis explores collage music's formal elements in an attempt to better understand its various themes and apply them in a workable format. I explore the work of John Zorn; how time is perceived in acoustic collage music and the concept of "super tempo"; musical quotation and appropriation in acoustic collage music; the definition of acoustic collage music in relation to other acoustic collage works; and musical montages addressing the works of Charles Ives, Lucciano Berio, George Rochberg, and DJ Orange. The last part of this paper discusses the compositional process used in the works Tempered Confetti and Venni, Viddi, – and how all issues of composing acoustic collage music are addressed therein.