| LDR | | 00000nam u2200205 4500 |
| 001 | | 000000435007 |
| 005 | | 20200227113356 |
| 008 | | 200131s2019 ||||||||||||||||| ||eng d |
| 020 | |
▼a 9781687972453 |
| 035 | |
▼a (MiAaPQ)AAI27592322 |
| 035 | |
▼a (MiAaPQ)0158vireo1666McConnell |
| 040 | |
▼a MiAaPQ
▼c MiAaPQ
▼d 247004 |
| 082 | 0 |
▼a 781 |
| 100 | 1 |
▼a McConnell, Michael C. |
| 245 | 10 |
▼a A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms. |
| 260 | |
▼a [S.l.]:
▼b University of North Texas.,
▼c 2019. |
| 260 | 1 |
▼a Ann Arbor:
▼b ProQuest Dissertations & Theses,
▼c 2019. |
| 300 | |
▼a 482 p. |
| 500 | |
▼a Source: Dissertations Abstracts International, Volume: 81-06, Section: A. |
| 500 | |
▼a Advisor: Cole-Luevano, Kimberly. |
| 502 | 1 |
▼a Thesis (D.M.A.)--University of North Texas, 2019. |
| 506 | |
▼a This item must not be sold to any third party vendors. |
| 506 | |
▼a This item must not be added to any third party search indexes. |
| 520 | |
▼a The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Reti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis.Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype. |
| 590 | |
▼a School code: 0158. |
| 650 | 4 |
▼a Music. |
| 650 | 4 |
▼a Music theory. |
| 690 | |
▼a 0413 |
| 690 | |
▼a 0221 |
| 710 | 20 |
▼a University of North Texas.
▼b Division of Instrumental Studies. |
| 773 | 0 |
▼t Dissertations Abstracts International
▼g 81-06A. |
| 773 | |
▼t Dissertation Abstract International |
| 790 | |
▼a 0158 |
| 791 | |
▼a D.M.A. |
| 792 | |
▼a 2019 |
| 793 | |
▼a English |
| 856 | 40 |
▼u http://www.riss.kr/pdu/ddodLink.do?id=T15494530
▼n KERIS
▼z 이 자료의 원문은 한국교육학술정보원에서 제공합니다. |
| 980 | |
▼a 202002
▼f 2020 |
| 990 | |
▼a ***1008102 |
| 991 | |
▼a E-BOOK |