THE ROLE OF NEOCLASSICISM IN GENERALIZING TRADITION: INTEGRATING TEXTURAL, TONAL AND TOPICAL ELEMENTS AT THE KEYBOARD

Simple item page
dc.contributor.advisorGowen, Bradforden_US
dc.contributor.authorChow, Ryanen_US
dc.contributor.departmentMusicen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.date.accessioned2019-10-02T05:30:24Z
dc.date.available2019-10-02T05:30:24Z
dc.date.issued2019en_US
dc.description.abstractWhile neoclassicism is viewed as a reaction against tonal saturation of late Romanticism, this dissertation discusses an array of works (both within and outside the scope of interwar neoclassicism) that absorbed elements of the aesthetic. Beyond Martha Hyde’s description of the neoclassical impulse as a “metamorphic anachronism,” I propose that it can extend to the following: (1) an opposition (or apposition, as proposed by Marianne Kielian-Gilbert) between specific musical elements, (2) a capitalization on ahistorical aspects of tradition, and (3) a generalization of tradition by placing the predecessor as a special case of a larger phenomenon. The first category is exemplified through chromatic displacement technique in Francis Poulenc and modified dominants in John Ireland, illustrating the coexistence of conventional periodicity with disruptive tonal practices. The second category manifests through non-contemporaneous musical codes, such as the use of musical topics (originally put forth by Leonard Ratner) within a neoclassical framework as points of departure from tradition, or the hypermeasure (proposed by Edward Cone) that capitalizes on Baroque and Romantic-era sequencing. The third category relates to Harold Bloom’s fourth revisionary ratio of a successor de-individuating the predecessor. For example, the generalization of thematic transformation while disregarding thematic character, and the generalization of the asymmetrical Fortspinnung while disregarding metric regularity, are exhibited in the works of Ernst Krenek and Peter Mennin respectively. In summary, this dissertation identifies how neoclassical-leaning composers confront tradition without placing themselves subordinate to their predecessors, forcing the listener to engage at a more fundamental level of musical syntax. The repertoire presented in this dissertation were premiered between 2018 and 2019 in the Joseph & Alma Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center, University of Maryland, College Park. Recital recordings are accessible through the Michelle Smith Performing Arts Library at the University.en_US
dc.identifierhttps://doi.org/10.13016/arol-lbt1
dc.identifier.urihttp://hdl.handle.net/1903/25166
dc.language.isoenen_US
dc.rightsNOTICE: Recordings accompanying this record are available only to University of Maryland College Park faculty, staff, and students and cannot be reproduced, copied, distributed or performed publicly by any means without prior permission of the copyright holder.
dc.subject.pqcontrolledMusicen_US
dc.subject.pquncontrolledCommon Practiceen_US
dc.subject.pquncontrolledModernismen_US
dc.subject.pquncontrolledNeoclassicismen_US
dc.titleTHE ROLE OF NEOCLASSICISM IN GENERALIZING TRADITION: INTEGRATING TEXTURAL, TONAL AND TOPICAL ELEMENTS AT THE KEYBOARDen_US
dc.typeDissertationen_US

Files

Original bundle
Now showing 1 - 4 of 4
Thumbnail Image
Name:
Chow_umd_0117E_20015.pdf
Size:
5.35 MB
Format:
Adobe Portable Document Format
Download
No Thumbnail Available
Name:
Dissertation Recital 1 Audio.zip
Size:
459.51 MB
Format:
Unknown data format
Download
No Thumbnail Available
Name:
Dissertation Recital 2 Audio.zip
Size:
593.86 MB
Format:
Unknown data format
Download
No Thumbnail Available
Name:
Dissertation Recital 3 Audio.zip
Size:
457.13 MB
Format:
Unknown data format
Download

Collections

UMD Theses and Dissertations
Music Theses and Dissertations