Interval cycles and symmetrical formations as generators of melody, harmony, and form in Alban Berg's string quartet Opus 3, and, "LYRICSCAPE." (Original composition)
Item
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Title
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Interval cycles and symmetrical formations as generators of melody, harmony, and form in Alban Berg's string quartet Opus 3, and, "LYRICSCAPE." (Original composition)
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Identifier
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AAI9000059
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identifier
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9000059
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Creator
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Porter, Charles Edwin.
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Contributor
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Adviser: George Perle
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Date
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1989
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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 dissertation consists of the composition, LYRICSCAPE, for chamber orchestra and the paper on Berg's Opus 3. The paper investigates three ways by which Berg articulates the form of Opus 3. The first of these is the placement and treatment of themes. As an adjunct to this the relationships of the various themes to each other, to interval cycles, and to the harmony are examined. The second avenue of investigation is that of interval cycles. In Opus 3 Berg has used interval cycles as generators of both local and long range linear progression. Embedded interval cycles operate throughout the composition and are basic to understanding Berg's formal divisions. Ten non-Schenkerian graphs (45 pages) depict the use of embedded interval cycles on different levels of each movement ranging from deep background to foreground. The third area of exploration is that of symmetrical formations. Historically the second movement is the first instance (1910) of the use of symmetrical formations to achieve important formal ends. A brief explanation of sum dyads, cyclic sets, and symmetry--all components of Bergs musical language that find their most sophisticated employment in Lulu--is followed by local examples from both movements. The second movement as a whole is then examined and its background cycles and important sums related. Finally the fundamental interval cycles of both movements are investigated as a complex for their symmetrical and musical implications. An annotated bibliography of Opus 3 sources is included.;List of chapters. (I) History and Preliminaries, (II) Interval Cycles and Embedding, (III) First Movement Themes and Thematic Relationships, (IV) First Movement Formal Divisions, (V) First Movement Graphs, (VI) Second Movement Themes and their Relations to those of the First Movement, (VII) Second Movement Formal Divisions, (VIII) The Relationship Between the First and Second Movements, (IX) Second Movement Graphs, (X) Harmony, (XI) Symmetry, (XII) Conclusions, Bibliography.
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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.
