Title page for ETD etd-01222004-110049


Type of Document Dissertation
Author Johnson, Aaron Edward
Author's Email Address aejohns@lsu.edu
URN etd-01222004-110049
Title An Original Composition Symphony No. 1 "Night Symphony" and an Analysis of Selected Traditional and Non-Traditional Elements of Harmony in Credo by Krzysztof Penderecki
Degree Doctor of Musical Arts (D.M.A.)
Department Music
Advisory Committee
Advisor Name Title
Dinos Constantinides Committee Chair
Jan Herlinger Committee Member
Jeffrey Perry Committee Member
Stephen David Beck Committee Member
Edward Smith Dean's Representative
Keywords
  • penderecki
  • symphony
  • composition
  • credo
Date of Defense 2003-11-21
Availability unrestricted
Abstract
The first part of this dissertation is an original composition Symphony No. 1 "Night Symphony." It is a three-movement work scored for large orchestra. Each of the three movements is subtitled with a descriptive aspect of a different part of the night: 1. Twilight, 2. Nocturne, and 3. Waning Darkness. The work is not a musical narrative of the night cycle and does not include night sounds. The subtitles are only meant to suggest the general mood I associate with particular stages of the night. The tempi of the movements fall into a fast-slow-fast arrangement. The outer movements are scored for full orchestra while the slow second movement is scored only for strings. A majority of the musical material is derived from dividing the twelve-note aggregate into three sets. These sets and their transpositions are used both vertically and horizontally throughout the work.

The second part of this dissertation is an analysis of selected traditional and non-traditional elements of harmony in Credo (1998) by Krzysztof Penderecki. Pendereckiís current style attempts to consolidate his life-long compositional journey by synthesizing all that he has learned throughout his career as a student and a professional. He uses elements of traditional tonality as well as modern and avant-garde elements to create a language that is unique and personal. Credo is a recent example that illustrates Pendereckiís current use of stylistic synthesis. Pendereckiís harmonic treatment is perhaps the most interesting and versatile aspect of his musical language. This paper will introduce the reader to Pendereckiís current style by analyzing his treatment of both traditional and non-traditional elements of harmony in Credo. It will demonstrate how he uses disparate elements in the context of a single piece of music.

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