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Spherical Structured Time in the Three Toccatas of Die Soldaten by Bernd Alois Zimmermann and an Original Composition, Wer, Wenn Ich Schriee for Soprano and Double Bass.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Spherical Structured Time in the Three Toccatas of Die Soldaten by Bernd Alois Zimmermann and an Original Composition, Wer, Wenn Ich Schriee for Soprano and Double Bass./
Author:	Kim, NamHoon.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	156 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-04, Section: A.
Contained By:	Dissertations Abstracts International82-04A.
Subject:	Musical composition. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28024702
ISBN:	9798664797923

Spherical Structured Time in the Three Toccatas of Die Soldaten by Bernd Alois Zimmermann and an Original Composition, Wer, Wenn Ich Schriee for Soprano and Double Bass.
Kim, NamHoon.

Spherical Structured Time in the Three Toccatas of Die Soldaten by Bernd Alois Zimmermann and an Original Composition, Wer, Wenn Ich Schriee for Soprano and Double Bass. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 156 p.

Source: Dissertations Abstracts International, Volume: 82-04, Section: A.

Thesis (Ph.D.)--Brandeis University, 2020.

This item must not be sold to any third party vendors.

This dissertation explores the structural connection between the three toccatas in Zimmermann's opera Die Soldaten, and it also analyzes the musical technique employed by Zimmermann in the toccatas to express his philosophy of spherical structured time. It examines the formal structures and pitch materials of the three toccatas, and it also identifies the function of the three toccatas in the narrative of the opera. Unlike other scholarly writings about Die Soldaten, which focus more on philosophical and aesthetic matters, this dissertation will focus on the detailed analysis of musical materials and how musical technique is a reflection of Zimmermann's philosophy of spherical structured time.Zimmermann's approach to simultaneity is always an expression of his philosophy of spherical-structured time. Simultaneity affects character portrayal as well as the portrayal of specific locations and settings. Musical simultaneity is explored through the use of techniques that stand for specific historical or internally-referenced times and places. As Angelus Seipt has written, this kind of simultaneous presentation of different materials is not unique to Zimmermann. Still, it has been present throughout the history of opera, for example, in the famous quartet from Verdi's Rigoletto. The significance of simultaneity then arises from the relationship between the technique of formal simultaneity in historical opera and Zimmermann's philosophy of spherical structured time.For Zimmermann, the simultaneity of characters, locations, and music meant the coexistence of events of the past and future. Zimmermann's spherical structured time philosophy rejects linear progressions and demonstrates that events of the past, present, and future only exist in human perception. Therefore, by presenting elements diegetically separated in time simultaneously, he creates a reality where chronological distinctions become diluted.Furthermore, Zimmermann uses palindromes to create his formal structures. Palindrome becomes a crucial model in the fabric because palindrome has an indistinct beginning and end, just as a sphere does. All of the pitch material stems from a single twelve-tone row called an "all-interval row," and a single distinct twelve-tone row derived from that all-interval row is used for each of the scenes, creating numerous variations with limited material. Unlike any narrative where it's axiomatic for the denouement to be at the end, Zimmermann foreshadows the denouement throughout the three toccatas, to the extent of revealing the denouement before reaching the climax. This, in turn, creates a parallel connection between the three toccatas. Identical motifs and references connect the three toccatas as well. Other than creating a parallel motivic connection, the rhythmic motifs and melodic association to specific characters, act as a trigger that transports the listener back to the previous moment when they first heard it. The three toccatas are not only mutually interconnected but connected to other types of scenes within the opera as well, especially in the final toccata, in which there are numerous references to other scenes. This dissertation, however, will focus solely on the relationship among the three toccatas.

ISBN: 9798664797923Subjects--Topical Terms:

3289630
Musical composition.
Subjects--Index Terms:

Bernd Alois Zimmermann

Spherical Structured Time in the Three Toccatas of Die Soldaten by Bernd Alois Zimmermann and an Original Composition, Wer, Wenn Ich Schriee for Soprano and Double Bass.
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245 1 0 $a Spherical Structured Time in the Three Toccatas of Die Soldaten by Bernd Alois Zimmermann and an Original Composition, Wer, Wenn Ich Schriee for Soprano and Double Bass.
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500 $a Advisor: Rakowski, David.
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506 $a This item must not be sold to any third party vendors.
520 $a This dissertation explores the structural connection between the three toccatas in Zimmermann's opera Die Soldaten, and it also analyzes the musical technique employed by Zimmermann in the toccatas to express his philosophy of spherical structured time. It examines the formal structures and pitch materials of the three toccatas, and it also identifies the function of the three toccatas in the narrative of the opera. Unlike other scholarly writings about Die Soldaten, which focus more on philosophical and aesthetic matters, this dissertation will focus on the detailed analysis of musical materials and how musical technique is a reflection of Zimmermann's philosophy of spherical structured time.Zimmermann's approach to simultaneity is always an expression of his philosophy of spherical-structured time. Simultaneity affects character portrayal as well as the portrayal of specific locations and settings. Musical simultaneity is explored through the use of techniques that stand for specific historical or internally-referenced times and places. As Angelus Seipt has written, this kind of simultaneous presentation of different materials is not unique to Zimmermann. Still, it has been present throughout the history of opera, for example, in the famous quartet from Verdi's Rigoletto. The significance of simultaneity then arises from the relationship between the technique of formal simultaneity in historical opera and Zimmermann's philosophy of spherical structured time.For Zimmermann, the simultaneity of characters, locations, and music meant the coexistence of events of the past and future. Zimmermann's spherical structured time philosophy rejects linear progressions and demonstrates that events of the past, present, and future only exist in human perception. Therefore, by presenting elements diegetically separated in time simultaneously, he creates a reality where chronological distinctions become diluted.Furthermore, Zimmermann uses palindromes to create his formal structures. Palindrome becomes a crucial model in the fabric because palindrome has an indistinct beginning and end, just as a sphere does. All of the pitch material stems from a single twelve-tone row called an "all-interval row," and a single distinct twelve-tone row derived from that all-interval row is used for each of the scenes, creating numerous variations with limited material. Unlike any narrative where it's axiomatic for the denouement to be at the end, Zimmermann foreshadows the denouement throughout the three toccatas, to the extent of revealing the denouement before reaching the climax. This, in turn, creates a parallel connection between the three toccatas. Identical motifs and references connect the three toccatas as well. Other than creating a parallel motivic connection, the rhythmic motifs and melodic association to specific characters, act as a trigger that transports the listener back to the previous moment when they first heard it. The three toccatas are not only mutually interconnected but connected to other types of scenes within the opera as well, especially in the final toccata, in which there are numerous references to other scenes. This dissertation, however, will focus solely on the relationship among the three toccatas.
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