Orchestration and the analysis of tonal music [electronic resource]: Interaction between orchestration and other musical parameters in selected symphonic compositions, c.1785--1835 (Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Felix Mendelssohn-Bartholdy, Austria, Germany). / imothy Spence Cutler

Cutler, Timothy Spence
Bib ID
vtls000568491
稽核項
323 p.
電子版
附註項
數位化論文典藏聯盟
預約人數:0
全部評等: 0
沒有紀錄。
 
 
 
03429nam a2200337 a 4500
001
 
 
vtls000568491
003
 
 
VRT
005
 
 
20030114161300.0
006
 
 
m        d
008
 
 
030114s2000    miu      m    000 0 eng d
020
$a 0599790776
035
$a (UnM)AAI9973669
039
9
$y 200301141613 $z sujenlee
040
$a UnM $c UnM $d TKU
100
1
$a Cutler, Timothy Spence, $e author
245
1
0
$a Orchestration and the analysis of tonal music $h [electronic resource]: $b Interaction between orchestration and other musical parameters in selected symphonic compositions, c.1785--1835 (Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Felix Mendelssohn-Bartholdy, Austria, Germany). / $T imothy Spence Cutler
300
$a 323 p.
500
$a Source: Dissertation Abstracts International, Volume: 61-05, Section: A, page: 1671.
500
$a Director:  Allen Forte.
502
$a Thesis (Ph.D.)--Yale University, 2000.
520
$a The objective of this dissertation is to demonstrate that an orchestral composition cannot be fully understood without examining its scoring. Orchestration is a significant topic in a variety of scholarly fields, but music theory has been slow to recognize its importance. It is essential to consider the timbral and textural aspects of an orchestral composition. However, one cannot study the parameter of orchestration in isolation. Meaningful analysis is only achieved by examining orchestration in conjunction with other musical parameters. It is the interaction between scoring and other parameters—form, tonal structure, motivic development, register, voice leading, etc.—that offers the most interesting insights.
520
$a This dissertation illustrates the analytical relevance of orchestration through the study of symphonic compositions by Haydn, Mozart, Beethoven, Schubert, and Mendelssohn. The first part of the dissertation is devoted to theoretical and historical issues, including the question of whether orchestration can be codified. The many roles and guises of orchestration are investigated. Historical issues, such as the evolution of instruments and orchestral ensembles, are discussed, and documentation is cited which suggests that instrumentation is far more than a decorative afterthought in the compositional process. Because the analytical approach employed in this study is largely Schenkerian, one chapter is devoted to Heinrich Schenker's analytical conception of orchestration, drawn from his writings and analyses.
520
$a Later chapters focus on analytical demonstrations of the interaction between orchestration and other musical parameters. Compositions analyzed include Haydn's Symphonies nos. 83, 99, and 100 and &ldquo;Chaos&rdquo; from <italic> The Creation</italic>, Mozart's Symphony no. 40, Beethoven's Symphonies nos. 1, 3, 5, 6, and 9, Schubert's Symphony no. 8, and Mendelssohn's Symphony no. 4 and &ldquo;Hebrides&rdquo; Overture.
591
$a 數位化論文典藏聯盟 $b PQDT $c 中山大學(2001~2002)
650
0
$a Music.
700
1
0
$a Forte, Allen, $e advisor
710
2
0
$a Yale University.
773
0
$t Dissertation Abstracts International $g 61-05A.
856
4
0
$u http://info.lib.tku.edu.tw/ebook/redirect.asp?bibid=568491
999
$a VIRTUA40         m
999
$a VTLSSORT0060*0080*0200*0350*0400*1000*2450*3000*5000*5001*5020*5200*5201*5202*5900*6500*6900*7100*7730*7000*7910*7920*8560*9990*9991
沒有評論
標題
摘要
The objective of this dissertation is to demonstrate that an orchestral composition cannot be fully understood without examining its scoring. Orchestration is a significant topic in a variety of scholarly fields, but music theory has been slow to recognize its importance. It is essential to consider the timbral and textural aspects of an orchestral composition. However, one cannot study the parameter of orchestration in isolation. Meaningful analysis is only achieved by examining orchestration in conjunction with other musical parameters. It is the interaction between scoring and other parameters&mdash;form, tonal structure, motivic development, register, voice leading, etc.&mdash;that offers the most interesting insights.
This dissertation illustrates the analytical relevance of orchestration through the study of symphonic compositions by Haydn, Mozart, Beethoven, Schubert, and Mendelssohn. The first part of the dissertation is devoted to theoretical and historical issues, including the question of whether orchestration can be codified. The many roles and guises of orchestration are investigated. Historical issues, such as the evolution of instruments and orchestral ensembles, are discussed, and documentation is cited which suggests that instrumentation is far more than a decorative afterthought in the compositional process. Because the analytical approach employed in this study is largely Schenkerian, one chapter is devoted to Heinrich Schenker's analytical conception of orchestration, drawn from his writings and analyses.
Later chapters focus on analytical demonstrations of the interaction between orchestration and other musical parameters. Compositions analyzed include Haydn's Symphonies nos. 83, 99, and 100 and &ldquo;Chaos&rdquo; from <italic> The Creation</italic>, Mozart's Symphony no. 40, Beethoven's Symphonies nos. 1, 3, 5, 6, and 9, Schubert's Symphony no. 8, and Mendelssohn's Symphony no. 4 and &ldquo;Hebrides&rdquo; Overture.
附註
Source: Dissertation Abstracts International, Volume: 61-05, Section: A, page: 1671.
Director: Allen Forte.
Thesis (Ph.D.)--Yale University, 2000.
數位化論文典藏聯盟
合著者
ISBN/ISSN
0599790776