This study explores Sibelius's last and, perhaps, most enigmatic Symphony from historical (source-critical), Schenkerian, and transtextual perspectives. Through a detailed study of its genesis, musical architecture, and meaning, the author maintains that the Seventh, its composer, and its generative process, can best be understood as a series of verges: conceptual points of interaction between two or more forces. Verges between Sibelius's nature mysticism and the dramatic biographical circumstances of the period (1914-1924), between inspired and reasoned modes of composition, between genres (symphony and fantasy), between various form types, between tragic despair and hopeful yearning, between innovation and classicism, and between a host of other seeming oppositions, all define the Seventh Symphony and illuminate various facets of the composer's life and thought.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc4495 |
| Date | 05 1900 |
| Creators | Pavlak, F. William |
| Contributors | Jackson, Timothy L., Cooper, J. Michael, Slottow, Stephen P. |
| Publisher | University of North Texas |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | Text |
| Rights | Public, Copyright, Pavlak, F. William, II, Copyright is held by the author, unless otherwise noted. All rights reserved. |
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