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You searched for +publisher:"University of Cincinnati" +contributor:("Losada, Dr. C."). Showing records 1 – 2 of 2 total matches.

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University of Cincinnati

1. BARNETT, JESSICA R. ALBERTO GINASTERA'S STRING QUARTETS NOS. 1 AND 2: CONSISTENCIES IN STRUCTURE AND PROCESS.

Degree: MM, College-Conservatory of Music : Theory, 2007, University of Cincinnati

Ginastera’s first and second string quartets are characterized by strong stylistic contrasts: the first is non-serial and the second represents the composer’s first attempt at serialism. Despite differences in stylistic orientation, these works exhibit striking similarities with respect to pitch organization and other structural processes. The primary objective of this study is to identify and explicate the consistencies in Ginastera’s musical language. The discussion places particular emphasis on the motivic pitch structure of both works and the way it interacts with the formal design of each movement. Foreground compositional processes in this music involve Ginastera’s emphasis on completing the chromatic aggregate and his penchant for symmetrical constructs. This study also explores the deeper-level compositional process of composing-out, which involves the projection of motivic or intervallic events over larger spans of music. The concept of the associational pathway is introduced to illuminate the musical narratives that unfold in Ginastera’s slow movements. Advisors/Committee Members: Losada, Dr. C. (Advisor).

Subjects/Keywords: Music; Ginastera; string quartet; composing out

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

BARNETT, J. R. (2007). ALBERTO GINASTERA'S STRING QUARTETS NOS. 1 AND 2: CONSISTENCIES IN STRUCTURE AND PROCESS. (Masters Thesis). University of Cincinnati. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179372958

Chicago Manual of Style (16th Edition):

BARNETT, JESSICA R. “ALBERTO GINASTERA'S STRING QUARTETS NOS. 1 AND 2: CONSISTENCIES IN STRUCTURE AND PROCESS.” 2007. Masters Thesis, University of Cincinnati. Accessed October 16, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179372958.

MLA Handbook (7th Edition):

BARNETT, JESSICA R. “ALBERTO GINASTERA'S STRING QUARTETS NOS. 1 AND 2: CONSISTENCIES IN STRUCTURE AND PROCESS.” 2007. Web. 16 Oct 2019.

Vancouver:

BARNETT JR. ALBERTO GINASTERA'S STRING QUARTETS NOS. 1 AND 2: CONSISTENCIES IN STRUCTURE AND PROCESS. [Internet] [Masters thesis]. University of Cincinnati; 2007. [cited 2019 Oct 16]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179372958.

Council of Science Editors:

BARNETT JR. ALBERTO GINASTERA'S STRING QUARTETS NOS. 1 AND 2: CONSISTENCIES IN STRUCTURE AND PROCESS. [Masters Thesis]. University of Cincinnati; 2007. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179372958


University of Cincinnati

2. KEE, SOONBOK. Elements of Continuity in Alexander Scriabin's Musical Language: An Analysis of Selected Piano Preludes.

Degree: DMA, College-Conservatory of Music : Piano, 2008, University of Cincinnati

Early twentieth-century music often merges late Romanticism with new musical techniques. The music of Alexander Scriabin displays these transitional attributes. His early compositional style is often Romantic in character, while the middle period works lead to the atonality typical of his late music. This study will focus on Scriabin's middle- and late-period piano preludes, seeking out elements of continuity. Chapter one approaches the formal structure of these preludes by examining the regular phrasing that is common in Scriabin's two- and three-part forms. In both the middle and late periods, the combination and interaction of exact and transposed repetition is a prominent compositional procedure. The same transpositional levels are found in both periods, but the frequency with which they are used distinguishes the periods from one another. The second chapter focuses on Scriabin's harmonic language. Initially, the discussion examines contrasting harmonic features of the final cadences in the middle and late period. Commonly-used sets are points of confluence in both periods, but their usage in diverse harmonic contexts results in clear differences. The final portion of this chapter discusses the cyclic and symmetrical properties of sets used in both periods, as well as the relationship between their subsets and supersets. Advisors/Committee Members: Losada, Dr. C. Catherine (Committee Chair).

Subjects/Keywords: Music; Alexander Scriabin; Piano Preludes; Continuity; Repetition; Set Theory

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

KEE, S. (2008). Elements of Continuity in Alexander Scriabin's Musical Language: An Analysis of Selected Piano Preludes. (Doctoral Dissertation). University of Cincinnati. Retrieved from http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204677896

Chicago Manual of Style (16th Edition):

KEE, SOONBOK. “Elements of Continuity in Alexander Scriabin's Musical Language: An Analysis of Selected Piano Preludes.” 2008. Doctoral Dissertation, University of Cincinnati. Accessed October 16, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204677896.

MLA Handbook (7th Edition):

KEE, SOONBOK. “Elements of Continuity in Alexander Scriabin's Musical Language: An Analysis of Selected Piano Preludes.” 2008. Web. 16 Oct 2019.

Vancouver:

KEE S. Elements of Continuity in Alexander Scriabin's Musical Language: An Analysis of Selected Piano Preludes. [Internet] [Doctoral dissertation]. University of Cincinnati; 2008. [cited 2019 Oct 16]. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204677896.

Council of Science Editors:

KEE S. Elements of Continuity in Alexander Scriabin's Musical Language: An Analysis of Selected Piano Preludes. [Doctoral Dissertation]. University of Cincinnati; 2008. Available from: http://rave.ohiolink.edu/etdc/view?acc_num=ucin1204677896

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