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Seeking Spiritual Liberation: Gong C...

Koh, Emily.

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Seeking Spiritual Liberation: Gong Cycles and Dissolutions in Claude Vivier's "Prologue pour un Marco Polo" and an Original Composition, "peri{methe-" for Bass Clarinet, Baritone Saxophone, Mezzosoprano, Percussion, Violin and Double Bass.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Seeking Spiritual Liberation: Gong Cycles and Dissolutions in Claude Vivier's "Prologue pour un Marco Polo" and an Original Composition, "peri{methe-" for Bass Clarinet, Baritone Saxophone, Mezzosoprano, Percussion, Violin and Double Bass./
作者:	Koh, Emily.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:	190 p.
附註:	Source: Dissertations Abstracts International, Volume: 79-05, Section: A.
Contained By:	Dissertations Abstracts International79-05A.
標題:	Musical composition. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10271869
ISBN:	9780355435412

Seeking Spiritual Liberation: Gong Cycles and Dissolutions in Claude Vivier's "Prologue pour un Marco Polo" and an Original Composition, "peri{methe-" for Bass Clarinet, Baritone Saxophone, Mezzosoprano, Percussion, Violin and Double Bass.
Koh, Emily.

Seeking Spiritual Liberation: Gong Cycles and Dissolutions in Claude Vivier's "Prologue pour un Marco Polo" and an Original Composition, "peri{methe-" for Bass Clarinet, Baritone Saxophone, Mezzosoprano, Percussion, Violin and Double Bass. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 190 p.

Source: Dissertations Abstracts International, Volume: 79-05, Section: A.

Thesis (Ph.D.)--Brandeis University, 2017.

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

This dissertation examines the influence of Balinese gamelan gong kebyar-gong cycles, stratified polyphony, kotekan etc., and how dissolution and cyclicity are used to develop the narrative of moksha (Hindu belief of spiritual liberation from the continuous cycle of life, death and reincarnation) in Claude Vivier's Prologue pour un Marco Polo (1981). Vivier developed a unique cyclic structure in Prologue pour un Marco Polo that fuses elements of colotomy (a term coined by ethnomusicologist Jaap Kunst to describe the nested divisions of time intervals in gamelan music) found in the gong cycles of Balinese gamelan gong kebyar with traditional cyclicism in the Western music canon. Vivier develops this new cyclic structure by dissolving the structural boundaries of the work at multiple levels, as the work progresses. Micro dissolutions are found at the textural level, and macro dissolutions can be observed at the structural level. In addition, les couleurs (a notable fingerprint of Vivier in his late works that uses sum tones of two pitches to create harmony) undergoes a philosophical dissolution, creating "mass of color" chords and pulse chords. This dissertation will be the first analytical work to focus on musical structure, rhythms and textures in the music of Claude Vivier, while also exploring the intercultural transfer of Balinese gamelan gong kebyar elements to the traditional Western idea of development.

ISBN: 9780355435412Subjects--Topical Terms:

3289630
Musical composition.
Subjects--Index Terms:

Balinese

Seeking Spiritual Liberation: Gong Cycles and Dissolutions in Claude Vivier's "Prologue pour un Marco Polo" and an Original Composition, "peri{methe-" for Bass Clarinet, Baritone Saxophone, Mezzosoprano, Percussion, Violin and Double Bass.
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500 $a Publisher info.: Dissertation/Thesis.
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506 $a This item must not be sold to any third party vendors.
520 $a This dissertation examines the influence of Balinese gamelan gong kebyar-gong cycles, stratified polyphony, kotekan etc., and how dissolution and cyclicity are used to develop the narrative of moksha (Hindu belief of spiritual liberation from the continuous cycle of life, death and reincarnation) in Claude Vivier's Prologue pour un Marco Polo (1981). Vivier developed a unique cyclic structure in Prologue pour un Marco Polo that fuses elements of colotomy (a term coined by ethnomusicologist Jaap Kunst to describe the nested divisions of time intervals in gamelan music) found in the gong cycles of Balinese gamelan gong kebyar with traditional cyclicism in the Western music canon. Vivier develops this new cyclic structure by dissolving the structural boundaries of the work at multiple levels, as the work progresses. Micro dissolutions are found at the textural level, and macro dissolutions can be observed at the structural level. In addition, les couleurs (a notable fingerprint of Vivier in his late works that uses sum tones of two pitches to create harmony) undergoes a philosophical dissolution, creating "mass of color" chords and pulse chords. This dissertation will be the first analytical work to focus on musical structure, rhythms and textures in the music of Claude Vivier, while also exploring the intercultural transfer of Balinese gamelan gong kebyar elements to the traditional Western idea of development.
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