"The Enchanted Garden" by Richard Danielpour: Issues of analysis and performance.
Item
-
Title
-
"The Enchanted Garden" by Richard Danielpour: Issues of analysis and performance.
-
Identifier
-
AAI9969743
-
identifier
-
9969743
-
Creator
-
Wang, Jen-Yi.
-
Contributor
-
Adviser: Joseph N. Straus
-
Date
-
2000
-
Language
-
English
-
Publisher
-
City University of New York.
-
Subject
-
Music
-
Abstract
-
Richard Danielpour has established himself as one of the most successful composers of his generation during the past decade. His music is highly accessible and full of romantic gestures. It combines the traditions of European classical music, the American vernacular of the early twentieth century, and elements from dance music, jazz, and pop. Danielpour's interests in New Age mysticism and Zen Buddhism are also reflected in his works. The Enchanted Garden (Preludes, Book I) for piano solo was written in 1992. It was commissioned by The Louisiana School for its annual piano festival in Natchitoches, Louisiana, and was premiered by Christopher O'Riley in 1992 at the Aspen Music Festival. There are five preludes in the set and each has a programmatic title: "Promenade," "Mardi Gras," "Childhood Memory," "From the Underground," and "Night." They illustrate many of Danielpour's musical characteristics, such as narrative connections, tonal references, romantic gestures, spiritual undertones, and lively musical imagination.;This study explores several issues of analysis and performance about the work; it aims to provide some insights to the preludes, in theory and in performance. The point of departure in the theoretical analysis is the use of the octatonic and the diatonic collections as pointed out by the composer in his notes. The discussion identifies the elements that represent or invoke the collections, and reveals the use of the major or minor triads and other tonal procedures that may contribute to the accessibility of his music. Chapter One is an introduction to the composer and the analytical aspects of the preludes in general. Chapters Two to Six contain analyses of each prelude, focusing on issues such as the form and materials, octatonic/diatonic interaction, trichords or tetrachords in relation to underlying octatonic/diatonic and in relation to generating intervals, large-scale tonal motion, and motivic/intervallic association. Chapter Seven discusses various performance aspects, incorporating the preceding theoretical observations. Chapter Eight offers some thoughts on three general interpretive strands in the preludes.
-
Type
-
dissertation
-
Source
-
PQT Legacy CUNY.xlsx
-
degree
-
D.M.A.
