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Music Borrowing in Organ Literature Through History: Couperin, Bach, Brahms, Ives, Alain, and Cage.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Music Borrowing in Organ Literature Through History: Couperin, Bach, Brahms, Ives, Alain, and Cage./
Author:	Schroeder, Joy Ann.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	289 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-05, Section: A.
Contained By:	Dissertations Abstracts International82-05A.
Subject:	Music theory. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28095372
ISBN:	9798684690471

Music Borrowing in Organ Literature Through History: Couperin, Bach, Brahms, Ives, Alain, and Cage.
Schroeder, Joy Ann.

Music Borrowing in Organ Literature Through History: Couperin, Bach, Brahms, Ives, Alain, and Cage. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 289 p.

Source: Dissertations Abstracts International, Volume: 82-05, Section: A.

Thesis (Ph.D.)--University of Oregon, 2020.

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

This dissertation is a study of borrowed melodies, harmonies, and formal structures in six representative works from the organ literature of the seventeenth to twentieth centuries. These works, by composers Francois Couperin, J. S. Bach, Johannes Brahms, Charles Ives, Jehan Alain, and John Cage, exhibit different methods of varying the borrowed material by addition of elements as well as subtraction. It focuses on how composers stayed within the normative practices of their eras by enhancing the tonal implications of their original sources, or (in the twentieth century) by obscuring or even erasing them. J. Peter Burkholder's work on borrowed material is the foundation of this study. His work is illustrated through my considerations of these six examples, and also used to step further into a discussion of how each composer either stays within the boundaries of tonality or pushes beyond them. In addition, I consider how composers either elaborate the texture of the original, or (in Cage's case) remove and fragment large parts of it timbrally to make it sound more random. My assertions about tonality and texture are supported by Schenkerian and post-tonal analyses, and in places I also consider rhythmic and metric alterations through the use of detailed tables.

ISBN: 9798684690471Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Charles Ives

Music Borrowing in Organ Literature Through History: Couperin, Bach, Brahms, Ives, Alain, and Cage.
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245 1 0 $a Music Borrowing in Organ Literature Through History: Couperin, Bach, Brahms, Ives, Alain, and Cage.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2020
300 $a 289 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-05, Section: A.
500 $a Advisor: Boss, Jack.
502 $a Thesis (Ph.D.)--University of Oregon, 2020.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation is a study of borrowed melodies, harmonies, and formal structures in six representative works from the organ literature of the seventeenth to twentieth centuries. These works, by composers Francois Couperin, J. S. Bach, Johannes Brahms, Charles Ives, Jehan Alain, and John Cage, exhibit different methods of varying the borrowed material by addition of elements as well as subtraction. It focuses on how composers stayed within the normative practices of their eras by enhancing the tonal implications of their original sources, or (in the twentieth century) by obscuring or even erasing them. J. Peter Burkholder's work on borrowed material is the foundation of this study. His work is illustrated through my considerations of these six examples, and also used to step further into a discussion of how each composer either stays within the boundaries of tonality or pushes beyond them. In addition, I consider how composers either elaborate the texture of the original, or (in Cage's case) remove and fragment large parts of it timbrally to make it sound more random. My assertions about tonality and texture are supported by Schenkerian and post-tonal analyses, and in places I also consider rhythmic and metric alterations through the use of detailed tables.
590 $a School code: 0171.
650 4 $a Music theory. $3 547155
650 4 $a Music history. $3 3342382
650 4 $a Musical composition. $3 3289630
653 $a Charles Ives
653 $a Jehan Alain
653 $a Johann Sebastian Bach
653 $a John Cage
653 $a Music borrowing
653 $a Organ literature
690 $a 0221
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710 2 $a University of Oregon. $b School of Music and Dance. $3 2105210
773 0 $t Dissertations Abstracts International $g 82-05A.
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793 $a English
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