A theoretical model for the analysis of collage in music derived from selected works by Berio, Zimmerman and Rochberg.
Item
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Title
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A theoretical model for the analysis of collage in music derived from selected works by Berio, Zimmerman and Rochberg.
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Identifier
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AAI3144115
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identifier
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3144115
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Creator
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Losada, Cristina Catherine.
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Contributor
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Adviser: Joseph N. Straus
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Date
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2004
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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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Traditional techniques of music analysis are based on the assumption of a governing unity in the musical language. Thus, the musical collage of the late 1960s, which by definition subverts the concept of unity by juxtaposing fragmentary quotations from different musical styles within a single composition, poses the most stimulating questions for the analyst: What are the relationships between the disparate elements in a collage? What are the structural implications of combining such a variety of disparate elements? Finally, what analytical tools should be used to analyze music with such diverse musical idioms?;This study involves the creation of a technical model for the analysis of collage in music. The focus is to find the logic behind the combination of the disparate elements contained in works written within this aesthetic. The examples derive from three strongly contrasting but representative pieces in this style: Bernd Alois Zimmermann's Musique pour les Soupers du Roi Ubu (1966), the first movement of George Rochberg's Music for the Magic Theater (1965), and the third movement of Luciano Berio's Sinfonia (1968).;By emphasizing the technical, rather than the referential implications of the practice of quotation, this study describes various formal, structural, and associative relationships between disparate elements in the musical collage. It outlines two analytical approaches, formal analysis and motivic and transformational analysis, and reveals two compositional processes, those used to achieve modulation and the technique of chromatic saturation and the significant gap (a technique that operates in registral space). These yield insights into many of the essential components of this musical style, including possible models for voice-leading, harmonic structure, form and large-scale coherence. The surprising correspondences in the way the connection between the highly distinct sound worlds is achieved in these strongly contrasting works suggest the value of this approach in creating an analytical model that can be usefully applied to this body of works as a whole.
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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.
