MUSIC FOR SOLO VIOLIN 1950-1960: A STUDY IN TWENTIETH-CENTURY NONTONAL MELODIC WRITING AS EXEMPLIFIED IN WORKS BY PERLE, SHIFRIN, EHRLICH, ZIMMERMAN, AND SESSIONS (AND) "LANDING LIGHTS"--FOR A SYMPHONIC ORCHESTRA. (ORIGINAL COMPOSITION).
Item
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Title
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MUSIC FOR SOLO VIOLIN 1950-1960: A STUDY IN TWENTIETH-CENTURY NONTONAL MELODIC WRITING AS EXEMPLIFIED IN WORKS BY PERLE, SHIFRIN, EHRLICH, ZIMMERMAN, AND SESSIONS (AND) "LANDING LIGHTS"--FOR A SYMPHONIC ORCHESTRA. (ORIGINAL COMPOSITION).
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Identifier
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AAI8601711
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identifier
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8601711
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Creator
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ZORMAN, MOSHE.
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Contributor
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George Perle
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Date
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1985
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music
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Abstract
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The paper determines and analyses the shaping forces in nontonal melodic writing. Through examination of diverse examples of solo violin music, the author reaches the conclusion that the central elements in a nontonal melody have much in common with those in a tonal melody. Despite essential differences in vocabulary and style--motivic development, tone centers, gap-fill processes, articulation, and structural step progression are still operational.;The paper also reexamines the possible application of Schenkerian analytical tools for nontonal melody. The use of linear graphs seems to be successful in helping to clarify structural step progressions, inner voices, tone centers, and long-range connections between structural notes. Reduction techniques, however, seem to be less valid in nontonal music, and operate efficiently only in pieces using clear tone centers and repetitive processes.;The five pieces analyzed are: George Perle's Sonata No. 1 for Solo Violin (first movement); Seymour Shifrin's Concert Piece (first movement); Abel Ehrlich's Bashrav; Bernd Alois Zimmermann's Sonate (Praludium); and Roger Sessions' Sonata for Violin (first movement).;The last chapter is devoted to comparative analysis of the above-mentioned pieces, reaching the following conclusions: (1) Arrival at points of relative cadential stability and the degree of closure of these points are a result of an interplay among several parameters, namely--rhythm, register, and distance from a local tone center. Rhythm, in the absence of harmonic cadences, becomes the essential element in creating points of closure. (2) Phrase length and articulation are influenced by the notion of chromatic saturation--the tendency of nontonal music to expand until all chromatic material is used. (3) Filling-in of melodic gaps is essential in nontonal melodies. Gaps, and especially those between structural notes, are filled-in when all chromatic material inside is used. (4) Nontonal melody is governed by a structural step progression line--a line created when structural points in a melody form a progression in seconds. This line is likely to progress in chromatic steps and is effective on a local level, moving toward a local tone center.;Landing Lights is a symphonic piece written in a nontonal style. The instrumentation is as follows: three flutes, three oboes, two clarinets, one bass-clarinet, two bassoons, one contrabassoon, three trumpets, four horns, three trombones, one tuba, one harp, two percussion players, and a full string section. All instruments notated at concert pitch.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
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Program
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Music
