東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Dualist Approaches to Resonance in F...

Venturino, Stephanie.

Linked to FindBook

Google Book

Amazon

博客來

Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960./
Author:	Venturino, Stephanie.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2022,
Description:	372 p.
Notes:	Source: Dissertations Abstracts International, Volume: 84-03, Section: A.
Contained By:	Dissertations Abstracts International84-03A.
Subject:	Music theory. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29321426
ISBN:	9798845416360

Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960.
Venturino, Stephanie.

Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960. - Ann Arbor : ProQuest Dissertations & Theses, 2022 - 372 p.

Source: Dissertations Abstracts International, Volume: 84-03, Section: A.

Thesis (Ph.D.)--University of Rochester, 2022.

This dissertation examines dualist engagements with the phenomenon of resonance in French music and music theory from 1900 to 1960. A long-standing interest for French composers and music theorists, resonance-whether defined as sympathetic resonance or as the simultaneous production of a fundamental and its upper or lower partials-represents a particularly important touchstone during this period. I focus on the latter definition, exploring how resonance-based thinking conditions both French music-theoretical thought and compositional practice.Chapter 1 investigates Vincent d'Indy's harmonic dualism, which synthesizes and transforms the dualisms of Hugo Riemann and Arthur von Oettingen to produce a complex system rooted in resonance. Beyond its merit as music theory, d'Indy's approach has historical significance, initiating a French interest in dualism reaching into the mid-twentieth century. Chapter 2 focuses on two of d'Indy's most important frameworks, both derived from resonance: his theories of directed fifths and order relationships. I develop and use related analytical technologies-double-ring circles of fifths and d'Indy order spaces-to analyze small-scale harmonic progressions, large-scale key areas, and symmetrical structures in his music.Chapters 3 and 4 explore dualist music theories after d'Indy, each viewed through the lens of resonance. Chapter 3 discusses dualist approaches that engage directly with d'Indy's work; Chapter 4 examines dualist methods that either engage with German sources or declare no sources at all. Beyond demonstrating the prevalence and significance of French harmonic dualism, these diverse approaches raise important questions about the very nature of dualism itself.Chapter 5 shows how a tendency for dualist thinking surfaces in contemporaneous compositional practice. I explore Andre Jolivet's resonance-based "double bass" and "lower resonance" concepts, which combine with his pivot-note technique; I apply them to his piano suite Mana (1935). I also investigate Dane Rudhyar's notions of "tone," "consonant order," and "dissonant order," which link to the overtone and undertone series, as well as cycles of perfect fourths or fifths. I apply them to "Reaching Out" from his Second Pentagram (1924-26) for piano. The chapter provides insight into Jolivet's and Rudhyar's compositional practices and links their methods-normally considered in isolation-to coeval dualist trends.

ISBN: 9798845416360Subjects--Topical Terms:

547155
Music theory.
Subjects--Index Terms:

Jolivet, Andre

Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960.
LDR:03589nmm a2200373 4500 001 2399697
005 20240916065946.5
006 m o d
007 cr#unu||||||||
008 251215s2022 ||||||||||||||||| ||eng d
020 $a 9798845416360
035 $a (MiAaPQ)AAI29321426
035 $a AAI29321426
040 $a MiAaPQ $c MiAaPQ
100 1 $a Venturino, Stephanie. $0 (orcid)0000-0003-2433-6441 $3 3769672
245 1 0 $a Dualist Approaches to Resonance in French Music and Music Theory, 1900-1960.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2022
300 $a 372 p.
500 $a Source: Dissertations Abstracts International, Volume: 84-03, Section: A.
500 $a Advisor: Klumpenhouwer, Henry.
502 $a Thesis (Ph.D.)--University of Rochester, 2022.
520 $a This dissertation examines dualist engagements with the phenomenon of resonance in French music and music theory from 1900 to 1960. A long-standing interest for French composers and music theorists, resonance-whether defined as sympathetic resonance or as the simultaneous production of a fundamental and its upper or lower partials-represents a particularly important touchstone during this period. I focus on the latter definition, exploring how resonance-based thinking conditions both French music-theoretical thought and compositional practice.Chapter 1 investigates Vincent d'Indy's harmonic dualism, which synthesizes and transforms the dualisms of Hugo Riemann and Arthur von Oettingen to produce a complex system rooted in resonance. Beyond its merit as music theory, d'Indy's approach has historical significance, initiating a French interest in dualism reaching into the mid-twentieth century. Chapter 2 focuses on two of d'Indy's most important frameworks, both derived from resonance: his theories of directed fifths and order relationships. I develop and use related analytical technologies-double-ring circles of fifths and d'Indy order spaces-to analyze small-scale harmonic progressions, large-scale key areas, and symmetrical structures in his music.Chapters 3 and 4 explore dualist music theories after d'Indy, each viewed through the lens of resonance. Chapter 3 discusses dualist approaches that engage directly with d'Indy's work; Chapter 4 examines dualist methods that either engage with German sources or declare no sources at all. Beyond demonstrating the prevalence and significance of French harmonic dualism, these diverse approaches raise important questions about the very nature of dualism itself.Chapter 5 shows how a tendency for dualist thinking surfaces in contemporaneous compositional practice. I explore Andre Jolivet's resonance-based "double bass" and "lower resonance" concepts, which combine with his pivot-note technique; I apply them to his piano suite Mana (1935). I also investigate Dane Rudhyar's notions of "tone," "consonant order," and "dissonant order," which link to the overtone and undertone series, as well as cycles of perfect fourths or fifths. I apply them to "Reaching Out" from his Second Pentagram (1924-26) for piano. The chapter provides insight into Jolivet's and Rudhyar's compositional practices and links their methods-normally considered in isolation-to coeval dualist trends.
590 $a School code: 0188.
650 4 $a Music theory. $3 547155
653 $a Jolivet, Andre
653 $a Oettingen, Arthur von
653 $a Rudhyar, Dane
653 $a Harmonic dualism
653 $a Riemann, Hugo
653 $a d'Indy, Vincent
690 $a 0221
710 2 $a University of Rochester. $b Eastman School of Music. $3 2105259
773 0 $t Dissertations Abstracts International $g 84-03A.
790 $a 0188
791 $a Ph.D.
792 $a 2022
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29321426