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You searched for +publisher:"University of Louisville" +contributor:("Burke, Devin"). Showing records 1 – 2 of 2 total matches.

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University of Louisville

1. DeJarnett, Trevor Roy. The sounds behind language : three musical settings of Beckett's not I by Heinz Holliger, Paul Rhys, and Agata Zubel.

Degree: M.M., 2017, University of Louisville

Samuel Beckett’s literary and dramatic works have served as sources of inspiration in the last five decades for multiple composers such as Morton Feldman and György Kurtág. Beckett’s late minimalist monologue Not I (1972) is the basis for recent compositions by Heinz Holliger, Paul Rhys, and Agata Zubel. While scholars have discussed similarities between Beckett’s style and individual musical works, a comprehensive study of multiple compositions based on the same work by Samuel Beckett has not yet been completed. Each of these compositions reflects various aspects of Beckett’s late dramatic style such as his use of rhythm, depiction of internal voices, and exploration of speech production. These musical works highlight aural features of Beckett’s Not I uniquely through the medium of music. This study will reveal how these musical works emphasize the sonic content of Beckett’s Not I in a significant manner. Advisors/Committee Members: Ehman, Caroline, Burke, Devin, Burke, Devin, Wolek, Krzystof.

Subjects/Keywords: Beckett and music; theatereality; soprano; text and music; semantic; Samuel Beckett; Musicology

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APA (6th Edition):

DeJarnett, T. R. (2017). The sounds behind language : three musical settings of Beckett's not I by Heinz Holliger, Paul Rhys, and Agata Zubel. (Masters Thesis). University of Louisville. Retrieved from 10.18297/etd/2670 ; https://ir.library.louisville.edu/etd/2670

Chicago Manual of Style (16th Edition):

DeJarnett, Trevor Roy. “The sounds behind language : three musical settings of Beckett's not I by Heinz Holliger, Paul Rhys, and Agata Zubel.” 2017. Masters Thesis, University of Louisville. Accessed July 17, 2019. 10.18297/etd/2670 ; https://ir.library.louisville.edu/etd/2670.

MLA Handbook (7th Edition):

DeJarnett, Trevor Roy. “The sounds behind language : three musical settings of Beckett's not I by Heinz Holliger, Paul Rhys, and Agata Zubel.” 2017. Web. 17 Jul 2019.

Vancouver:

DeJarnett TR. The sounds behind language : three musical settings of Beckett's not I by Heinz Holliger, Paul Rhys, and Agata Zubel. [Internet] [Masters thesis]. University of Louisville; 2017. [cited 2019 Jul 17]. Available from: 10.18297/etd/2670 ; https://ir.library.louisville.edu/etd/2670.

Council of Science Editors:

DeJarnett TR. The sounds behind language : three musical settings of Beckett's not I by Heinz Holliger, Paul Rhys, and Agata Zubel. [Masters Thesis]. University of Louisville; 2017. Available from: 10.18297/etd/2670 ; https://ir.library.louisville.edu/etd/2670


University of Louisville

2. Taylor, Blake. Tonal shift, cadence and transition in the brass sonatas of Paul Hindemith.

Degree: M.M., 2017, University of Louisville

This thesis examines analytical facets in Paul Hindemith’s sonatas for brass and piano, ranging in date of composition from 1938 to 1955, while also considering Hindemith’s role as a neoclassicist and how these works help inform and shape our knowledge of Hindemith’s neoclassicism. The document is divided into four chapters: Hindemith and Tonality, Analytical Concerns and Methods, Brass Sonata Analyses, and Hindemith and Neoclassicism. As a fundamentally neoclassical composer, Hindemith combined traditional aspects of form with new applications of tonality, establishing within his music various levels of what he termed “key areas.” Through analyzing the corpus of sonatas for solo brass and piano, mid-level cadential and transitional phenomena become apparent. In particular, the descending half step is frequently used to navigate key areas that occupy multiple hierarchical levels of tonal space. These mid-level structures are revealed to have overarching hierarchical implications and ultimately inform our knowledge of Hindemith’s neoclassical style. Advisors/Committee Members: Yeary, Mark, Jemian, Rebecca, Jemian, Rebecca, Burke, Devin.

Subjects/Keywords: Hindemith; Cadence; Transition; Neoclassicism; Music Theory

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

APA (6th Edition):

Taylor, B. (2017). Tonal shift, cadence and transition in the brass sonatas of Paul Hindemith. (Masters Thesis). University of Louisville. Retrieved from 10.18297/etd/2658 ; https://ir.library.louisville.edu/etd/2658

Chicago Manual of Style (16th Edition):

Taylor, Blake. “Tonal shift, cadence and transition in the brass sonatas of Paul Hindemith.” 2017. Masters Thesis, University of Louisville. Accessed July 17, 2019. 10.18297/etd/2658 ; https://ir.library.louisville.edu/etd/2658.

MLA Handbook (7th Edition):

Taylor, Blake. “Tonal shift, cadence and transition in the brass sonatas of Paul Hindemith.” 2017. Web. 17 Jul 2019.

Vancouver:

Taylor B. Tonal shift, cadence and transition in the brass sonatas of Paul Hindemith. [Internet] [Masters thesis]. University of Louisville; 2017. [cited 2019 Jul 17]. Available from: 10.18297/etd/2658 ; https://ir.library.louisville.edu/etd/2658.

Council of Science Editors:

Taylor B. Tonal shift, cadence and transition in the brass sonatas of Paul Hindemith. [Masters Thesis]. University of Louisville; 2017. Available from: 10.18297/etd/2658 ; https://ir.library.louisville.edu/etd/2658

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