Functions of Quotations in Steven Stucky's Oratorio August 4, 1964 and Their Placements within the Context of a Quotation Continuum: Cultural, Commentary, Remembrance, and Unity Page: 9
View a full description of this thesis.
Extracted Text
The following text was automatically extracted from the image on this page using optical character recognition software:
material (and recurring material as well) for McNamara. The excerpt shown below in example
5 is from the piano-vocal score. Next to the piano reduction I have numbered two separate
harmonic progressions: progression 1 is shown in the treble clef of the piano part and
progression 2 in the bass clef.
Example 5: Mm. 104- 109, movement 1 (McNamara), excerpt from piano-vocal score
(R.H. of piano reduction represents the viola parts and L.H. is orchestrated with contrabass,
clarinet and bassoon)
m.104
Nli "-'i Pre-si-dent, at sev - en thir - ty A. M. we in- ter : in ter - cept ed. Mis-ter Pre-si-den,
O . *: m=u -_ U '
For purposes of studying the voice leading the two progressions will be separated, as the
two parts are registrally and orchestrally separated in the score and seem to be two independent
progressions, each with its own harmonic rhythm. Each progression contains a three-part
polyphonic line with linear ascending half-step motions connecting the adjacent triads (the two-
part polyphonic vocal line sung by McNamara is not a separate third progression, but is derived
from progression 1).12 When changes in the harmony occur in either progression, the shift is the
result of one half-step motion (or two of the three voices moving by half steps in the case of
progression 2 in mm. 106-107).13
12 In fact, Stucky specifically selected polychords, or hexachords, that lent themselves to smooth chromatic
voice leading when searching for a harmonic contrast to the previous section, dominated by tertian harmonies and
octatonic and tertian melodies.
13 This passage continues in like fashion, with mostly ascending half steps reaching the peak of a phrase,
and then starting over on a lower pitch and again rising to convey tension and anxiety in McNamara. The musical
material in this example recurs with McNamara at several points throughout the oratorio: 1) in movement 3,
beginning at m. 37, the pitches are the same although some minor changes have been added to the orchestration and
text (rhythms slightly adjusted to account for changes in text), 2) in movement 6, beginning at m. 62 (same pitches,
different text) 3) movement 9 at m. 34 (here the vocal line closely resembles the previous examples, although
Upcoming Pages
Here’s what’s next.
Search Inside
This thesis can be searched. Note: Results may vary based on the legibility of text within the document.
Tools / Downloads
Get a copy of this page or view the extracted text.
Citing and Sharing
Basic information for referencing this web page. We also provide extended guidance on usage rights, references, copying or embedding.
Reference the current page of this Thesis.
Davenport, Jennifer Tish. Functions of Quotations in Steven Stucky's Oratorio August 4, 1964 and Their Placements within the Context of a Quotation Continuum: Cultural, Commentary, Remembrance, and Unity, thesis, May 2011; Denton, Texas. (https://digital.library.unt.edu/ark:/67531/metadc67973/m1/28/: accessed April 30, 2024), University of North Texas Libraries, UNT Digital Library, https://digital.library.unt.edu; .