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
| Identifer | oai:union.ndltd.org:UBC/oai:circle.library.ubc.ca:2429/14494 |
| Date | 11 1900 |
| Creators | Walker, Nicole Denise |
| Source Sets | University of British Columbia |
| Language | English |
| Detected Language | English |
| Type | Text, Thesis/Dissertation |
| Format | 3255596 bytes, application/pdf |
| Rights | For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use. |
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