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Counterpoint and linearity as manife...

Adams, Jacob Alexander.

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Counterpoint and linearity as manifested in the music of George Gershwin.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Counterpoint and linearity as manifested in the music of George Gershwin./
Author:	Adams, Jacob Alexander.
Description:	163 p.
Notes:	Source: Dissertation Abstracts International, Volume: 75-07(E), Section: A.
Contained By:	Dissertation Abstracts International75-07A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3614532
ISBN:	9781303801389

Counterpoint and linearity as manifested in the music of George Gershwin.
Adams, Jacob Alexander.

Counterpoint and linearity as manifested in the music of George Gershwin. - 163 p.

Source: Dissertation Abstracts International, Volume: 75-07(E), Section: A.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2013.

The music of George Gershwin has remained ensconced in concert programs ever since the premiere of Rhapsody in Blue in 1924. His music possesses everything that popular music has, namely memorable, catchy tunes and a clear-cut sense of direction. Although a tonal composer, many of his harmonies are complex sonorities that elude any attempt at a functional analysis. Many of his works possess a wide array of themes that are often superimposed and combined in sophisticated and subtle ways. While many of his works may initially appear as nearly formless, there are in fact many techniques of thematic unity and development at work.

ISBN: 9781303801389Subjects--Topical Terms:

516178
Music.

Counterpoint and linearity as manifested in the music of George Gershwin.
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020 $a 9781303801389
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100 1 $a Adams, Jacob Alexander. $3 2105337
245 1 0 $a Counterpoint and linearity as manifested in the music of George Gershwin.
300 $a 163 p.
500 $a Source: Dissertation Abstracts International, Volume: 75-07(E), Section: A.
500 $a Adviser: Jeffrey Magee.
502 $a Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2013.
520 $a The music of George Gershwin has remained ensconced in concert programs ever since the premiere of Rhapsody in Blue in 1924. His music possesses everything that popular music has, namely memorable, catchy tunes and a clear-cut sense of direction. Although a tonal composer, many of his harmonies are complex sonorities that elude any attempt at a functional analysis. Many of his works possess a wide array of themes that are often superimposed and combined in sophisticated and subtle ways. While many of his works may initially appear as nearly formless, there are in fact many techniques of thematic unity and development at work.
520 $a The unifying element in Gershwin's music is counterpoint and an ever-present sense of linearity, duality, and opposition. Harmonic sequences are often not generated by conventional, pre-determined progressions, but rather by the linear motion of each individual note, as though it were its own independent voice. Instead of setting tunes against standard accompaniments, Gershwin often layers a distinctive countermelody above or below the primary melody, in addition to imbuing the accompanying patterns with a sense of line in themselves. Instead of employing root-position chords obsessively, as was common in popular music of the day, Gershwin creates coloristic chord successions derived primarily from stepwise (linear) motion.
520 $a Although Gershwin's music has not undergone nearly as much scholarly analysis as that of the older masters, a substantial literature nonetheless exists, notably the writings of Stephen Gilbert and Allen Forte. Stephen Gilbert in particular has written several illuminating works dealing with counterpoint in Gershwin's music. It is my primary goal in this paper to uncover specific contrapuntal, linear, and sequential patterns that Gershwin employed, as as discovering these structural elements in imperative in truly understanding Gershwin's compositional process. These elements also give further evidence that counterpoint and linearity remain at the heart of his musical thinking and procedures, whether they are generating harmonic progressions, layering multiple melodic lines, developing thematic material, or creating smooth, linear chord progressions.
590 $a School code: 0090.
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650 4 $a Education, Music. $3 1017808
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710 2 $a University of Illinois at Urbana-Champaign. $b Music. $3 2105338
773 0 $t Dissertation Abstracts International $g 75-07A(E).
790 $a 0090
791 $a D.M.A.
792 $a 2013
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3614532