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A Study of the Musical Style of Elliott Carter's Piano Sonata (1945-46) and of MeiFang Lin's Disintegration and Mistress of the Labyrinth.- [electronic resource]
A Study of the Musical Style of Elliott Carter's Piano Sonata (1945-46) and of MeiFang Lin's Disintegration and Mistress of the Labyrinth.- [electronic resource]
상세정보
- 자료유형
- 학위논문(국외)
- 자관 청구기호
- 기본표목-개인명
- 표제와 책임표시사항
- A Study of the Musical Style of Elliott Carters Piano Sonata (1945-46) and of MeiFang Lins Disintegration and Mistress of the Labyrinth. - [electronic resource] / Wang, Yingying.
- 발행, 배포, 간사 사항
- 발행, 배포, 간사 사항
- 형태사항
- 1 online resource(79 p.)
- 일반주기
- Source: Dissertations Abstracts International, Volume: 81-02, Section: A.
- 일반주기
- Advisor: Kalhous, David.
- 학위논문주기
- Thesis (D.M.)--The Florida State University, 2019.
- 이용제한주기
- This item must not be sold to any third party vendors.
- 요약 등 주기
- 요약The purpose of this treatise, which is in two parts, is to investigate piano solo works of Elliott Carter and Mei-Fang Lin. Part I of the treatise focuses on American composer Elliott Carter and his Piano Sonata (1945-46). Part II discusses contemporary Taiwanese composer Mei-Fang Lin and her two solo piano works, Disintegration and Mistress of the Labyrinth.Elliot Carter's Piano Sonata is a representative example of his distinctive modernist style. After his early works written largely in Neoclassical idiom, Carter embarked on a new musical path in this work. His innovative approach to form, harmony, thematic design, metric elements, sound, and timing according to the common sonata structures differ significantly from the traditional approaches to this form. The compositional aesthetic of this work has become one of the hallmarks of American musical modernism, foreshadowing the compositional direction of piano sonatas in the latter half of the twentieth century. Carter's music has known for his metrical complexity, in which metric modulation and polyrhythmic application largely emerged after 1948. The trademark is specifically launched in his Cello Sonata (1948). The 1945 piano sonata is the piece a few years earlier in which rhythmical complexity began to expose. In this treatise, I demonstrate the layer of rhythmical pulse through the method of thematic analysis, rather than merely focusing on metric modulation technique. In contrast to most scholarships that have a rigorous study for Carter's eclectic deed on the fusion of European neoclassicism and American avant-garde, I discuss the composer's new compositional approach in the Sonata. My analysis concentrates on specific innovative aspects that make the work unconventional, showing why Carter is one of the most important voices of American modernism.Part II of the treatise focuses on the contemporary Taiwanese composer Mei-Fang Lin's two piano solo works, Disintegration and Mistress of the Labyrinth. Lin's compositional aesthetic are intrinsically related to her educational background and cultural identity, and I show how this particular aesthetic is revealed in these two pieces. Lin's musical language demonstrates a strong duality. On one hand, her European and American musical training imbued her music with an unmistakably Western voice. On the other hand, Lin's studies of Eastern philosophy and traditional Chinese music infused her style with Eastern elements. My analysis illustrates how these two tendencies coexist in these two pieces.
- 주제명부출표목-일반주제명
- 부출표목-단체명
- 기본자료저록
- Dissertations Abstracts International. 81-02A.
- 기본자료저록
- Dissertation Abstract International
- 전자적 위치 및 접속
- 원문정보보기
MARC
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■00520200217180927
■007cr
■020 ▼a9781085596572
■040 ▼d225006
■08204▼a780
■090 ▼a전자도서(박사논문)
■1001 ▼aWang, Yingying.
■24510▼aA Study of the Musical Style of Elliott Carter's Piano Sonata (1945-46) and of MeiFang Lin's Disintegration and Mistress of the Labyrinth.▼h[electronic resource]▼cWang, Yingying.
■260 ▼a[S.l.]▼bThe Florida State University. ▼c2019
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2019
■300 ▼a1 online resource(79 p.)
■500 ▼aSource: Dissertations Abstracts International, Volume: 81-02, Section: A.
■500 ▼aAdvisor: Kalhous, David.
■5021 ▼aThesis (D.M.)--The Florida State University, 2019.
■506 ▼aThis item must not be sold to any third party vendors.
■520 ▼aThe purpose of this treatise, which is in two parts, is to investigate piano solo works of Elliott Carter and Mei-Fang Lin. Part I of the treatise focuses on American composer Elliott Carter and his Piano Sonata (1945-46). Part II discusses contemporary Taiwanese composer Mei-Fang Lin and her two solo piano works, Disintegration and Mistress of the Labyrinth.Elliot Carter's Piano Sonata is a representative example of his distinctive modernist style. After his early works written largely in Neoclassical idiom, Carter embarked on a new musical path in this work. His innovative approach to form, harmony, thematic design, metric elements, sound, and timing according to the common sonata structures differ significantly from the traditional approaches to this form. The compositional aesthetic of this work has become one of the hallmarks of American musical modernism, foreshadowing the compositional direction of piano sonatas in the latter half of the twentieth century. Carter's music has known for his metrical complexity, in which metric modulation and polyrhythmic application largely emerged after 1948. The trademark is specifically launched in his Cello Sonata (1948). The 1945 piano sonata is the piece a few years earlier in which rhythmical complexity began to expose. In this treatise, I demonstrate the layer of rhythmical pulse through the method of thematic analysis, rather than merely focusing on metric modulation technique. In contrast to most scholarships that have a rigorous study for Carter's eclectic deed on the fusion of European neoclassicism and American avant-garde, I discuss the composer's new compositional approach in the Sonata. My analysis concentrates on specific innovative aspects that make the work unconventional, showing why Carter is one of the most important voices of American modernism.Part II of the treatise focuses on the contemporary Taiwanese composer Mei-Fang Lin's two piano solo works, Disintegration and Mistress of the Labyrinth. Lin's compositional aesthetic are intrinsically related to her educational background and cultural identity, and I show how this particular aesthetic is revealed in these two pieces. Lin's musical language demonstrates a strong duality. On one hand, her European and American musical training imbued her music with an unmistakably Western voice. On the other hand, Lin's studies of Eastern philosophy and traditional Chinese music infused her style with Eastern elements. My analysis illustrates how these two tendencies coexist in these two pieces.
■650 4▼aMusic.
■71020▼aThe Florida State University▼bMusic.
■7730 ▼tDissertations Abstracts International▼g81-02A.
■773 ▼tDissertation Abstract International
■791 ▼aD.M.
■792 ▼a2019
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T15490638▼nKERIS
