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You searched for subject:(integral serialism). Showing records 1 – 2 of 2 total matches.

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1. Triebel, Caitlyn M. Pierre Mercure and the Contemporary: Reflections of Influence and Ideology in "Tétrachromie" (1963).

Degree: MA, Department of Music, 2015, University of Alberta

This thesis surveys, through his use of integrated serialism in Tétrachromie (1963), Pierre Mercure’s interest in contemporary compositional ideologies as influenced by prominent composers with whom he came into contact through the 1950s and early 1960s. Although largely not recognised as a composer of serialism, Mercure (1927–1966) uses a complex system of serial preogranisation in Tétrachromie. In 1951, Mercure studied at the Tanglewood Institute with Luigi Dallapiccola, from whom he initially learned the twelve-tone method. The summer prior to composing Tétrachromie, he attended the Darmstadt Ferienkurse where he most notably studied with Pierre Boulez, Henri Pousseur, and Bruno Maderna. Numerous aesthetic ideologies that existed among these composers adhere to structural elements in Tétrachromie, including systems of intervallic control and row construction. In an analysis of Tétrachromie, the author discusses how Mercure may have created his 24-tone series, and how this series is applied through melodic, harmonic, and rhythmic means, using intervallic analysis, pitch-class-sets, and Klumpenhouwer Networks to garner information about the row. Each of the four sections of Tétrachromie has a unique combination of musical textures, each texture adhering to various levels of serial organisation based on the 24-tone prime row. The analysis also contains some remarks on style and aural response based on a recording of the work’s only performance in 1964.

Subjects/Keywords: Umberto Eco; Canadian music; Darmstadt School; Klumpenhouwer Networks; musical analysis; Pierre Mercure; integral serialism; Montreal; Tetrachromie; open work

…compositional approaches such as integral serialism, aleatoric procedures, and electroacoustics… …sketches a specific fallacy of composers adhering to either the serialism of the Darmstadt school… …Mercure became attracted to the innovations surrounding serialism as they were expressed in the… …64 The present chapter, which focuses on both serialism and multimedia experimentation… …approach to Tétrachromie. 1. Dallapiccola and the Darmstadt School: Mentors in Serialism Even… 

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

APA (6th Edition):

Triebel, C. M. (2015). Pierre Mercure and the Contemporary: Reflections of Influence and Ideology in "Tétrachromie" (1963). (Masters Thesis). University of Alberta. Retrieved from https://era.library.ualberta.ca/files/k0698b12p

Chicago Manual of Style (16th Edition):

Triebel, Caitlyn M. “Pierre Mercure and the Contemporary: Reflections of Influence and Ideology in "Tétrachromie" (1963).” 2015. Masters Thesis, University of Alberta. Accessed November 21, 2019. https://era.library.ualberta.ca/files/k0698b12p.

MLA Handbook (7th Edition):

Triebel, Caitlyn M. “Pierre Mercure and the Contemporary: Reflections of Influence and Ideology in "Tétrachromie" (1963).” 2015. Web. 21 Nov 2019.

Vancouver:

Triebel CM. Pierre Mercure and the Contemporary: Reflections of Influence and Ideology in "Tétrachromie" (1963). [Internet] [Masters thesis]. University of Alberta; 2015. [cited 2019 Nov 21]. Available from: https://era.library.ualberta.ca/files/k0698b12p.

Council of Science Editors:

Triebel CM. Pierre Mercure and the Contemporary: Reflections of Influence and Ideology in "Tétrachromie" (1963). [Masters Thesis]. University of Alberta; 2015. Available from: https://era.library.ualberta.ca/files/k0698b12p


University of Melbourne

2. Murray, Rohan David. Australian piano music 1980-2010 from a pianist's perspective: a presentation of two performance events.

Degree: 2011, University of Melbourne

The interpretation and performance of new Australian solo piano music 1980-2010 are both under-researched. The ten representative solo piano works upon which this thesis is based were written by two distinct generations of composers between 1980 and 1994, and 1994 and 2010 respectively. These two periods contain a wealth of compositions that range across numerous genres, styles, compositional methods, idioms and musical languages which, as I shall argue below, nevertheless constitute a degree of consistency in style and approach in each case. Due to a number of key historical, socio-cultural and professional factors, examination of the two periods reveals a multi-faceted shift in compositional style between the first and second generations. These factors include the composer’s professional development; the impact of Australianism, modernism, post-modernism and polystylism; the extraordinary growth of emphasis on pianistic virtuosity resulting from the commissioning of new works; and the reduction in the emphasis on national identity as expressed in references to the Australian landscape and Indigenous Australian music. External factors such as the support of commissions by the Australian Council for new works also play a role. This dissertation delineates the role of the pianist in the interpretation of the selected works and formulates a theory of performance that may be applied more generally to this oeuvre. I based my interpretations of this mostly atonal literature on a new model of dynamic form, derived from my assessment of the composers’ compositional methods, including the form or ‘shape’ of the dynamic markings throughout the score. In interpreting the styles, idioms and character, I examined the implications in the scores for the pianist’s gestures and approach to dynamic markings and sonic qualities. My theory of dynamic form is based on the notion that the dynamic markings throughout the score – referred to as ‘dynamic scheme’ – provide a general indication of dynamic intensity throughout a work. As the interpretative process progresses, the resulting ‘sketch’ of the dynamic form is tempered, or at times significantly altered, as other factors that influence variations in the dynamic intensity are taken into account. Traditional models of dynamic form, which tend to assume the inevitability of links between such musical elements as tempo, rhythmic vigour and harmony, run the risk of ignoring surprising new musical relationships that are continually presented by composers of new music. From the performer’s perspective, this methodology also has the benefit of ensuring that every facet of the music has been rigorously examined.

Subjects/Keywords: Australian piano music; Australian music; new music; contemporary music; contemporary piano music; contemporary Australian music; contemporary Australian piano music; piano music; piano performance; performance research; performance-based methodology; Keith Humble; Ann Ghandar; Peter Sculthorpe; Ross Edwards; David Lumsdaine; Tim Dargaville; Jane Stanley; Carl Vine; Gerard Brophy; Abraço; Mountains; Cambewarra; Alba; Five Bagatelles; Four Bagatelles; Yitpi; Elizabeth Schumann; Donna Coleman; Margaret Kartomi; Fellowship of Australian composers; Jindyworobak; Angry Penguins; Clive Douglas; Henry Tate; Percy Grainger; Franco Donatoni; Rene Leibowitz; Anthony Hughes; Allan Walker; Eight Bagatelles; combinatoriality; serialism; rotary successions; integral serialism; John Tavener; Mountain Village; Paul Stanhope; dynamic form; dynamic scheme; genre; Jeanell Carrigan; Michael Kieran Harvey; Ian Munro; virtuoso; Roy Howat; lightning intuition; South American groove; solo piano performance

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

APA (6th Edition):

Murray, R. D. (2011). Australian piano music 1980-2010 from a pianist's perspective: a presentation of two performance events. (Doctoral Dissertation). University of Melbourne. Retrieved from http://hdl.handle.net/11343/36950

Chicago Manual of Style (16th Edition):

Murray, Rohan David. “Australian piano music 1980-2010 from a pianist's perspective: a presentation of two performance events.” 2011. Doctoral Dissertation, University of Melbourne. Accessed November 21, 2019. http://hdl.handle.net/11343/36950.

MLA Handbook (7th Edition):

Murray, Rohan David. “Australian piano music 1980-2010 from a pianist's perspective: a presentation of two performance events.” 2011. Web. 21 Nov 2019.

Vancouver:

Murray RD. Australian piano music 1980-2010 from a pianist's perspective: a presentation of two performance events. [Internet] [Doctoral dissertation]. University of Melbourne; 2011. [cited 2019 Nov 21]. Available from: http://hdl.handle.net/11343/36950.

Council of Science Editors:

Murray RD. Australian piano music 1980-2010 from a pianist's perspective: a presentation of two performance events. [Doctoral Dissertation]. University of Melbourne; 2011. Available from: http://hdl.handle.net/11343/36950

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