Title page for ETD etd-07022004-122652


Type of Document Dissertation
Author Kuh, Myung Jin
Author's Email Address mkuh1@lsu.edu, lsuclassic@hotmail.com
URN etd-07022004-122652
Title A Study of the “Quintet for Piano and Strings” by Richard Danielpour
Degree Doctor of Musical Arts (D.M.A.)
Department Music
Advisory Committee
Advisor Name Title
Constance Carroll Committee Chair
David Smyth Committee Member
Jennifer Hayghe Committee Member
Robert Peck Committee Member
Jan Hinson Dean's Representative
Keywords
  • chamber music
  • piano quintet
  • Danielpour
Date of Defense 2004-06-10
Availability unrestricted
Abstract
Richard Danielpour is recognized as one of the most successful and acclaimed composers today. His music is often described as neo-romantic: full of grand gestures, highly accessible, brilliantly orchestrated, and rhythmically powerful and exciting. His music is based on the traditions of European classical music; however, it also combines the American vernacular of the 20th century, including jazz, rock, and pop music. His special interests in metaphysics and non-Western culture, especially Zen Buddhism, are also reflected in his compositions.

This study examines Danielpour’s Quintet for Piano and Strings, written in 1988. The work consists of three movements with the descriptive titles: “Annunciation,” “Atonement,” and “Apotheosis.” In general, the work shows many of the composer’s compositional characteristics such as references to traditional tonal language procedure, metaphysical ideas (developmental narratives), and rhythmic energy. The purpose of this study is to illustrate characteristics of Danielpour’s compositional style found in the Piano Quintet, and provide some insights from a theoretical and stylistic perspective. The first chapter provides biographical information about the composer and some background about his Piano Quintet. Three central chapters are devoted to detailed formal analysis of the three movements, focusing on issues such as the formal structure, tonal center, and interaction between diatonic and special collections (e.g. octatonic, whole-tone, and pentatonic scales). A final chapter takes up general issues of relationships between and among the movements, focused on Danielpour’s stylistic characteristics found in the Quintet for Piano and Strings.

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