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A theoretical study of the late music of Witold Lutoslawski : = New interactions of pitch, rhythm, and form.

Record Type:	Electronic resources : Monograph/item
Title/Author:	A theoretical study of the late music of Witold Lutoslawski :/
Reminder of title:	New interactions of pitch, rhythm, and form.
Author:	Klein, Michael Leslie.
Description:	1 online resource (382 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 58-07, Section: A.
Contained By:	Dissertations Abstracts International58-07A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9603612click for full text (PQDT)
ISBN:	9798209205265

A theoretical study of the late music of Witold Lutoslawski : = New interactions of pitch, rhythm, and form.
Klein, Michael Leslie.

A theoretical study of the late music of Witold Lutoslawski :New interactions of pitch, rhythm, and form. - 1 online resource (382 pages)

Source: Dissertations Abstracts International, Volume: 58-07, Section: A.

Thesis (Ph.D.)--State University of New York at Buffalo, 1995.

Includes bibliographical references

This dissertation proposes a theory for the primary compositional problems that Witold Lutoslawski responds to in his late music. Register is the principal focus of these problems, although the dissertation presents an account of pitch, rhythm, and orchestration as well. Chapter 1 outlines the criteria by which the musicologist can consider Lutoslawski's music after 1960 a separate historical period in the composer's career. Chapter 2 illustrates Lutoslawski's methods of creating harmonic aggregates, collections in which all twelve pitch-classes are ordered in register. Harmonic aggregates have the properties of limited intervals, parallel symmetry, or mirror symmetry. The chapter proposes a theory for measuring these properties. Chapter 3 illustrates how Lutoslawski presents harmonic aggregates in ad libitum sections that use aleatory techniques. Despite the rhythmic complexity of ad libitum sections, the slow rate of change in harmonic aggregates results in registral stasis. In order to discuss formally Lutoslawski's response to this stasis, the chapter includes a theory of register, defining width, weight, cardinality, and density as measurable properties. Chapter 4 turns to the thinner textures that Lutoslawski introduces into his music of the 1980s. These thinner textures are often the result of either transpositional combination or inversional union, which result in pitch collections with the properties of transpositional or inversional symmetry. The chapter shows how Lutoslawski uses variations of these two procedures as early as his student years, providing a link between his late music and the music of the past. Chapter 5 returns to harmonic aggregates in order to show how Lutoslawski integrates them with the thinner textures that mark his music of the 1980s. The chapter explores the ways in which Lutoslawski alters his use of harmonic aggregates in order to solve some of the registral problems outlined earlier. In addition, the chapter provides an exposition of chain form, Lutoslawski's term for compositions in which formal sections overlap one another. The dissertation concludes with an analysis of the third movement of Lutoslawski's Piano Concerto (1987). Longer analyses also appear at the ends of Chapters 2 through 4.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798209205265Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Lutoslawski, WitoldIndex Terms--Genre/Form:

542853
Electronic books.

A theoretical study of the late music of Witold Lutoslawski : = New interactions of pitch, rhythm, and form.
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500 $a Source: Dissertations Abstracts International, Volume: 58-07, Section: A.
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504 $a Includes bibliographical references
520 $a This dissertation proposes a theory for the primary compositional problems that Witold Lutoslawski responds to in his late music. Register is the principal focus of these problems, although the dissertation presents an account of pitch, rhythm, and orchestration as well. Chapter 1 outlines the criteria by which the musicologist can consider Lutoslawski's music after 1960 a separate historical period in the composer's career. Chapter 2 illustrates Lutoslawski's methods of creating harmonic aggregates, collections in which all twelve pitch-classes are ordered in register. Harmonic aggregates have the properties of limited intervals, parallel symmetry, or mirror symmetry. The chapter proposes a theory for measuring these properties. Chapter 3 illustrates how Lutoslawski presents harmonic aggregates in ad libitum sections that use aleatory techniques. Despite the rhythmic complexity of ad libitum sections, the slow rate of change in harmonic aggregates results in registral stasis. In order to discuss formally Lutoslawski's response to this stasis, the chapter includes a theory of register, defining width, weight, cardinality, and density as measurable properties. Chapter 4 turns to the thinner textures that Lutoslawski introduces into his music of the 1980s. These thinner textures are often the result of either transpositional combination or inversional union, which result in pitch collections with the properties of transpositional or inversional symmetry. The chapter shows how Lutoslawski uses variations of these two procedures as early as his student years, providing a link between his late music and the music of the past. Chapter 5 returns to harmonic aggregates in order to show how Lutoslawski integrates them with the thinner textures that mark his music of the 1980s. The chapter explores the ways in which Lutoslawski alters his use of harmonic aggregates in order to solve some of the registral problems outlined earlier. In addition, the chapter provides an exposition of chain form, Lutoslawski's term for compositions in which formal sections overlap one another. The dissertation concludes with an analysis of the third movement of Lutoslawski's Piano Concerto (1987). Longer analyses also appear at the ends of Chapters 2 through 4.
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