A study of Lou Harrison's Concerto for Violin and Percussion Orchestra and Concerto for Organ and Percussion Orchestra*.
Item
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Title
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A study of Lou Harrison's Concerto for Violin and Percussion Orchestra and Concerto for Organ and Percussion Orchestra*.
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Identifier
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AAI9405506
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identifier
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9405506
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Creator
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Burwasser, Daniel A.
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Contributor
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Advisers: David Olan | Joel Lester
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Date
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1993
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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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Two important features of Lou Harrison's music are melody and form. With regard to melody, Harrison often uses a single-line (sometimes a chordal melody) with an accompaniment of drones or ostinatos. Two instrumentally related works of Harrison's, the Concerto for Violin and Percussion Orchestra (1940/1959) and the Concerto for Organ and Percussion Orchestra (1973) illustrate this method.;This study analyzes these two concertos in terms of the composer's approach to orchestration, with particular attention to the interaction between the solo/melodic instruments and the solely percussion accompaniments of these two works.;These studies pinpoint some novel orchestrational techniques for obtaining optimum clarity of writing and instrumental balance. Some of the methods employed in both works are the contrapuntal weaving of short ostinato patterns, mixed timbres, and multi-layered textures.;In reference to the other important element of form in Harrison's music, the use of pitch centricity and organizational methods help to define a variety of forms in these works.;The disparate elements in both concertos, however, outweigh the similarities. These differences owe as much to the individual instrumental requirements of each work as to their two opposing methods of creation. The earlier written piece was composed in a separate fashion, that is, the violin part was composed first and most of the accompaniment was added later. In the Organ Concerto; the accompaniment was written concurrently with the solo part. These methods yield specific clues to stylistic patterns and consistencies regarding the relationship of soloist and accompaniment in each work. ftn*Author wrote two papers for this Ph.D. degree. See also UMI publication number 9405507.
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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.
