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

Musical Borrowing and Quotation in J...

Lao, Lin,

Linked to FindBook

Google Book

Amazon

博客來

Musical Borrowing and Quotation in John Corigliano's Piano Works /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Musical Borrowing and Quotation in John Corigliano's Piano Works // Lin Lao.
Author:	Lao, Lin,
Description:	1 electronic resource (99 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-11, Section: A.
Contained By:	Dissertations Abstracts International85-11A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31140124
ISBN:	9798382767888

Musical Borrowing and Quotation in John Corigliano's Piano Works /
Lao, Lin,

Musical Borrowing and Quotation in John Corigliano's Piano Works /Lin Lao. - 1 electronic resource (99 pages)

Source: Dissertations Abstracts International, Volume: 85-11, Section: A.

This dissertation examines three piano works by American composer John Corigliano (b.1938): Gazebo Dances for Piano Four-hands (1972), Fantasia on an Ostinato (1985), and Chiaroscuro for two pianos (1997) to explore the role of musical borrowing in his creative process. Using the stylistic allusion and quotation frameworks of David Metzer and J. Peter Burkholder, I argue that Corigliano's explicit and varied references to compositions and styles of the past reflect his aesthetic stance that no work of art can be created ex nihilo, but rather, is inevitably linked to and built upon established traditions. The past is thus respected and incorporated into a new musical language.Each of the three piano works examined in this study reflects different periods in Corigliano's career and contrasting approaches to his earlier musical materials. The piano four- hands suite Gazebo Dances, one of Corigliano's early compositions, employs medieval church modes and traditional dance forms; such hidden borrowing techniques evoke musical styles and structures from the past without quotations. Fantasia on an Ostinato, composed in the middle of Corigliano's career, makes more explicit references to earlier compositional techniques (ostinati, minimalism, aleatoricism) while incorporating direct quotation from Beethoven's Seventh Symphony. In Chiaroscuro, which calls for two pianos tuned a quarter tone apart, pungent dissonances and varied textures reflect contrasts between light and dark. In addition, a self- quotation of the tarantella form from Gazebo Dances displays his intention of using tarantella as a powerful expression against disease and death; as well as another quotation from J. S. Bach's Chorale Herr Gott, dich loben alle wir, BWV 130 in the final movement, express the nostalgia for traditional harmonic progressions, but also the text in Bach's cantata intersects with the musical message of this work.Corigliano's piano works reveal the composer's continued engagement with old musical materials in his compositions, and a variety of different approaches for borrowing, quoting, and resuscitating music from the past. This analysis will aid performers to better understand the many stylistic references and quotations in these works in order to shape their musical interpretation. At the same time, this research contributes to a more nuanced view of the aesthetics of musical borrowing and quotation in the late twentieth century, a practice that extends well beyond the 1960s.

English

ISBN: 9798382767888Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Corigliano, John

Musical Borrowing and Quotation in John Corigliano's Piano Works /
LDR:03959nmm a22004333i 4500 001 2429951
005 20250519114738.5
006 m o d
007 cr|nu||||||||
008 261011s2024 miu||||||m |||||||eng d
020 $a 9798382767888
035 $a (MiAaPQD)AAI31140124
035 $a AAI31140124
040 $a MiAaPQD $b eng $c MiAaPQD $e rda
100 1 $a Lao, Lin, $e author. $3 3818045
245 1 0 $a Musical Borrowing and Quotation in John Corigliano's Piano Works / $c Lin Lao.
264 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2024
300 $a 1 electronic resource (99 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 85-11, Section: A.
500 $a Advisors: Rubinoff, Kailan; Salmon, John Committee members: Willis, Andrew.
502 $b D.M.A. $c The University of North Carolina at Greensboro $d 2024.
520 $a This dissertation examines three piano works by American composer John Corigliano (b.1938): Gazebo Dances for Piano Four-hands (1972), Fantasia on an Ostinato (1985), and Chiaroscuro for two pianos (1997) to explore the role of musical borrowing in his creative process. Using the stylistic allusion and quotation frameworks of David Metzer and J. Peter Burkholder, I argue that Corigliano's explicit and varied references to compositions and styles of the past reflect his aesthetic stance that no work of art can be created ex nihilo, but rather, is inevitably linked to and built upon established traditions. The past is thus respected and incorporated into a new musical language.Each of the three piano works examined in this study reflects different periods in Corigliano's career and contrasting approaches to his earlier musical materials. The piano four- hands suite Gazebo Dances, one of Corigliano's early compositions, employs medieval church modes and traditional dance forms; such hidden borrowing techniques evoke musical styles and structures from the past without quotations. Fantasia on an Ostinato, composed in the middle of Corigliano's career, makes more explicit references to earlier compositional techniques (ostinati, minimalism, aleatoricism) while incorporating direct quotation from Beethoven's Seventh Symphony. In Chiaroscuro, which calls for two pianos tuned a quarter tone apart, pungent dissonances and varied textures reflect contrasts between light and dark. In addition, a self- quotation of the tarantella form from Gazebo Dances displays his intention of using tarantella as a powerful expression against disease and death; as well as another quotation from J. S. Bach's Chorale Herr Gott, dich loben alle wir, BWV 130 in the final movement, express the nostalgia for traditional harmonic progressions, but also the text in Bach's cantata intersects with the musical message of this work.Corigliano's piano works reveal the composer's continued engagement with old musical materials in his compositions, and a variety of different approaches for borrowing, quoting, and resuscitating music from the past. This analysis will aid performers to better understand the many stylistic references and quotations in these works in order to shape their musical interpretation. At the same time, this research contributes to a more nuanced view of the aesthetics of musical borrowing and quotation in the late twentieth century, a practice that extends well beyond the 1960s.
546 $a English
590 $a School code: 0154
650 4 $a Music. $3 516178
650 4 $a Musical composition. $3 3289630
650 4 $a Music theory. $3 547155
653 $a Corigliano, John
653 $a Musical borrowing
653 $a Musical quotation
653 $a Harmonic progressions
690 $a 0413
690 $a 0214
690 $a 0221
710 2 $a The University of North Carolina at Greensboro. $b College of Visual and Performing Arts: School of Music. $e degree granting institution. $3 3818046
720 1 $a Rubinoff, Kailan $e degree supervisor.
720 1 $a Salmon, John $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 85-11A.
790 $a 0154
791 $a D.M.A.
792 $a 2024
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31140124