113 Matching Results

Search Results

The Musical Fallout of Political Activism: Government Investigations of Musicians in the United States, 1930-1960

Description: Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into his background and activities in the United States. Leonard Bernstein, Marc Blitzstein, and Aaron Copland are but a few of the prominent composers investigated by the government for their involvement in leftist organizations. The Symphony of the Air was denied visas for a Near East tour after several orchestra members were implicated as Communists. Members of musicians' unions in New York and Los Angeles were called before HUAC hearings because of alleged infiltration by Communists into their ranks. The Metropolitan Music School of New York, led by its president-emeritus, the composer Wallingford Riegger, was the subject of a two day congressional hearing in New York City. There is no way to measure either quantitatively or qualitatively the effect of the period on the music but only the extent to which the activities affected the musicians themselves. The extraordinary paucity of published information about the treatment of the musicians during this period is put into even greater relief when compared to the thorough manner in which the other arts, notably literature and film, have been examined. This work attempts to fill this gap and shed light on a particularly dark chapter in the history of contemporary music.
Date: August 1993
Creator: McCall, Sarah B.
Partner: UNT Libraries

Transcendentalism and Intertextuality in Charles Ives's War Songs of 1917

Description: This thesis examines a collection of three songs, "In Flanders Fields," "He Is There!," and "Tom Sails Away," written by Charles Ives in 1917, from primarily a literary perspective involving Transcendentalism and intertextuality. Ives's aesthetic builds upon the principles of Transcendentalism. I examine these songs using the principles outlined by the nineteenth-century Transcendentalists, and Ives's interpretations of these beliefs. Another characteristic of Ives's music is quotation. "Intertextuality" describes an interdependence of literary texts through quotation. I also examine these songs using the principles of intertextuality and Ives's uses of intertextual elements. Familiarity with the primary sources Ives quotes and the texts they suggest adds new meaning to his works. Transcendentalism and intertextuality create a greater understanding of Ives's conflicting views of the morality of war.
Date: December 1998
Creator: Brandt, R. Lynne (Rebecca Lynne)
Partner: UNT Libraries

Orchestral Accompaniment in the Vocal Works of Hector Berlioz

Description: Recent Berlioz studies tend to stress the significance of the French tradition for a balanced understanding of Berlioz's music. Such is necessary because the customary emphasis on purely musical structure inclines to stress the influence of German masters to the neglect of vocal and therefore rhetorical character of this tradition. The present study, through a fresh examination of Berlioz's vocal-orchestral scores, sets forth the various orchestrational patterns and the rationales that lay behind them.
Date: May 1994
Creator: Lee, Namjai
Partner: UNT Libraries

Mail Order Music: the Hinners Organ Company in the Dakotas, 1879-1936

Description: Founded in 1879 by John L. Hinners, the Hinners Organ Company developed a number of stock models of small mechanical-action instruments that were advertised throughout the Midwest. Operating without outside salesmen, the company was one of the first to conduct all of its affairs by mail, including the financial arrangements, selection of the basic design, and custom alterations where required. Buyers first met a company representative when he arrived by train to set up the crated instrument that had been shipped ahead of him. Tracker organs with hand-operated bellows were easily repaired by local craftsmen, and were suited to an area that, for the most part, lacked electricity. In all, the company constructed nearly three thousand pipe organs during its sixty years of operation. Rapid decline of the firm began in the decade prior to 1936 during which the company sold fewer than one hundred instruments, and closed in that year when John's son Arthur found himself without sufficient financial resources to weather the lengthy depression. The studies of the original-condition Hinners organs in the Dakotas include extensive photographs and measurements, and provide an excellent cross section of the smaller instruments produced by the company. They are loud, excellently crafted, functionally attractive, tonally typical of the early twentieth-century American Romantic organ, and utilize designs and materials typical of this era. Only recently has it been acknowledged that these Hinners organs represent a "meat and potatoes" class of instrument, as it were, an honest meal without the pretense of delicate appetizers, vintage wine, and gourmet dessert. In this way the company offered churches a serviceable and respectable musical alternative to grandeur, and was able to fulfill the needs and meet the budget of a small congregation without the expense of a custom instrument.
Date: August 1997
Creator: Alcorn-Oppedahl, Allison A. (Allison Ann)
Partner: UNT Libraries

Polyphonic Harmony in Three of Ferruccio Busoni’s Orchestral Elegies

Description: This dissertation focuses on three of Busoni’s late orchestral works known as “orchestral elegies”: Berceuse élégiaque (Elegie no. 1, 1909), Gesang vom Reigen der Geister (Elegie no. 4, 1915), and Sarabande (Elegie no. 5, 1918-19). The study seeks to provide a better understanding of Busoni’s late style as a crucial bridge from late nineteenth-century chromaticism in the works of Liszt, Wagner, and others to the post-tonal languages of the twentieth century. At the heart of this study lies a particular concept that forms the basis of many characteristic features of Busoni’s late style, namely the concept of polyphonic harmony, or harmony as a cumulative result of independent melodic lines. This concept is also related to a technique of orchestration in which the collective harmony is sounded in such a way that the individual voices are distinct. In the highly personal tonal language of Busoni’s late works, passages often consist of a web of motives weaved throughout the voices at the surface level of the music. Linear analysis provides a means of unravelling the dense fabric of voices and illustrating the underlying harmonic progressions, which most often consist of parallel, primarily semitonal, progressions of tertian sonorities. Chapter 1 provides a backdrop for this study, including a brief summary of Busoni’s ideas on the aesthetics of music and a summary of his influence and development as a composer. Chapter 2 addresses the concept of polyphonic harmony in more detail, some theoretical ideas related to it, and characteristics of Busoni’s late style that reflect this concept. Chapter 3 is dedicated to analytical methodology, addressing concepts which emerge from various linear approaches to the analysis of some twentieth-century music. Chapters 4, 5, and 6 are each dedicated to a specific work, the purpose being to illuminate through linear analysis compositional characteristics and techniques related ...
Date: May 2015
Creator: Davis, Colin
Partner: UNT Libraries

Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609

Description: This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.
Date: August 1995
Creator: Kim, Hae-Jeong
Partner: UNT Libraries

Opera and the Galant Homme: Quinault and Lully's Tragedie en musique, Atys, in the Context of Seventeenth-Century Modernism

Description: The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered accessibility to this major new genre in seventeenth-century literature and music.
Date: May 1994
Creator: Browne, Marilyn K. (Marilyn Kay)
Partner: UNT Libraries

Eighteenth-Century French Oboes: A Comparative Study

Description: The oboe, which first came into being in the middle of the seventeenth century in France, underwent a number of changes throughout the following century. French instruments were influenced both by local practices and by the introduction of influences from other parts of Europe. The background of the makers of these instruments as well as the physical properties of the oboes help to illuminate the development of the instrument during this period. The examination of measurements, technical drawings, photographs, and biographical data clarify the development and dissemination of practices in oboe building throughout eighteenth-century France. This clarification provides new insight into a critical period of oboe development which has hitherto not been exclusively addressed.
Date: May 2001
Creator: Cleveland, Susannah
Partner: UNT Libraries

Elements of Shamanic Mythology in E. T. A. Hoffman's Romantic Conception of Music

Description: The musicians in E. T. A. Hoffmann's tales and essays demonstrate traits remarkably similar to those of shamans. Hoffmann uses the same imagery to describe the journey of the composer into the "realm of dreams," where he receives inspiration, as the shaman uses to describe the spirit world to which he journeys via music. Hoffmann was a major force in changing the 18th-century view of music as an "innocent luxury" to the 19th-century idea of music as a higher art. As a German Romantic,author, he subscribed to the idea championed by the Schlegels that true poetry is based on myth. In this thesis, Hoffmann's writings are compared with shamanic mythology to demonstrate a similarity beyond mere coincidence, without drawing conclusions about influence.
Date: December 1993
Creator: Miller, Harry A. W. (Harry Alfred Werner)
Partner: UNT Libraries

A Translation of and Commentary on The Noble Art of Music, by Juan Miguel Urtasun de Yrarraga

Description: This study is a translation of and commentary on an eighteenth-century treatise written by Juan Miguel Urtasun de Yrarraga. Its purpose is to contribute to the field of knowledge of eighteenth-century Spanish materials, making an original work of that era accessible to the reader unfamiliar with the Spanish language.
Date: December 1972
Creator: Barrera, Xavier
Partner: UNT Libraries

A Comparison of the Use of Music in the Holy Eucharist of the Roman Catholic Church and the Sabbath Morning Service of the Jewish Synagogue in the Middle Ages

Description: The problem with which this investigation is concerned is that of comparing the medieval musical traditions of two of the world's most influential religions. The similarities are discussed in two major categories: the comparison of liturgical texts and ritual, and the comparison of the music appearing in each ritual. This study has one main purpose. That purpose is to demonstrate how, through musical traditions, each religion has developed through the influence of the other. Samples of the liturgies from the musical portions of the services were obtained from prayer books and references dealing with those religions. Investigations of English translations from the Latin and Hebrew revealed a close identity between the two, not only in scriptural uses, but also in prayers and responses. Musical examples demonstrating similar elements in Hebrew and Christian worship were found in the extensive research of A. Z. Idelsohn and Eric Werner. Due to the dispersal of world Jewry, the best examples of Hebrew medieval music were obtained from the most isolated Jewish communities, such as those of Yemen, Musical similarities included modes, melodic formulas, and hymns and songs. This report concludes that the musical portions of the services of Christianity and Judaism in the Middle Ages were strikingly similar, and their subsequent musical development was strongly influenced by their coexistence.
Date: July 1971
Creator: Simmons, Sandra K. (Sandra Kay)
Partner: UNT Libraries

An Edition of Verse and Solo Anthems by William Boyce

Description: The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I.
Date: August 1975
Creator: Fansler, Terry L.
Partner: UNT Libraries

'T Uitnemend Kabinet: Vol Pavanen, Almanden, Sarbanden, Couranten, Balletten, Intraden, Airs: Volume II

Description: 'T Uitnemend Kabinet is a two-volume collection of two and three-part instrumental music from Germany, France, Italy, and Holland, published by Paulus Matthysz in Amsterdam (1646 and 1649). Volume I consists of 54 folios in the treble part book, and 19 in the bass part book; Volume II has 37 folios in the treble part book and 21 in the bass part book. he main part of this edition consists of a transcription of the 103 pieces of Volume II, which is accompanied with a brief commentary on the composers represented, the styles and forms of the music, and evidences of significant developments in early seventeenth-century instrumental music.
Date: December 1974
Creator: Wallace, Barbara K.
Partner: UNT Libraries

A Study of Style and Influence in the Early Schools of Violin Making Circa 1540 to Circa 1800

Description: Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authentication, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tradition of the craft rather than on the individual maker.
Date: December 1987
Creator: Alcorn-Oppedahl, Allison A. (Allison Ann)
Partner: UNT Libraries

The Sonatas of Domenico Gabrielli (1651-1690) in San Petronio MSS G.I: 3-9

Description: Domenico Gabrielli's seven trumpet sonatas are among seventeenth-century trumpet repertoire predominant in the instrumental tradition of the basilica San Petronio, which flourished roughly from the election of Maurizio Cazzati as maestro di cappella in 1657 until the dissolution of the orchestra of the church in 1695. Fostered by numerous occasions for performance, the Bolognese trumpet works tend to exhibit a uniform musical style imposed by musical academies. After a discussion of the probable cause of the termination of the instrumental tradition and of the role of musical academies, this paper will be primarily concerned with formal aspects of fast movements of Gabrielli's sonatas. Despite the fact that the predominant organizing principle of the fast movements appears to be textural, a step toward ritornello form is taken in some of the movements, in which tutti and solo sections are independently developed. In particular, the recurrence of identical material in tutti confirming different keys, the thematic relation between tutti and solo, and the symmetrical and balanced tonal plan are unmistakable seeds of full ritornello form. The text is followed by critical notes and transcriptions of the seven sonatas.
Date: December 1986
Creator: Chang, Sangtae
Partner: UNT Libraries

Anton Bruckner's Treatment of the Credo Text in His Last Three Masses

Description: In order to investigate the stylistic transformation that occured before Bruckner abandoned the composition of Masses, this paper analyzes the Credo settings in his last three great Masses, with special attention to the treatment of the text. The relationship between the text and specific musical techniques is also considered. The trends found in these three works, especially in the last setting in F minor, confirm the assumption that Bruckner's Mass composition served as a transition to the composition of his symphonies.
Date: December 1985
Creator: Lee, Namjai
Partner: UNT Libraries

Opera and Society in Early-Twentieth-Century Argentina: Felipe Boero's El matrero

Description: Premiering at the twilight of the gauchesco era and the dawn of Argentine musical Modernism, El matrero (1929) by Felipe Boero (1884-1958) remains underexplored in terms of its social milieu and artistic heritage. Instantly hailed as a masterpiece, the work retains a place in the local repertory, though it has never been performed internationally. The opera draws on myths of the gaucho and takes further inspiration from the energized intellectual environment surrounding the one-hundred-year anniversary of Argentine Independence. The most influential writers of the Centenary were Leopoldo Lugones (1874-1938), Ricardo Rojas (1882-1957), and Manuel Gálvez (1882-1962). Their times were marked by contradictions: xenophobia and the desire for foreign approbation; pride in an imaginary, "barbaric" yet noble ideal wiped out by the "civilizing" ambitions of revered nineteenth-century leaders. Krausism, a system of ideas following the teachings of Karl Friedrich Krause (1781-1832), had an impact on the period as exhibited in the political philosophy of Hipólito Yrigoyen (1852-1933), who served as president from 1916 to 1922 and 1928 to 1930 when he was deposed by a right-wing coup d'état. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and ...
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: August 2016
Creator: Sauceda, Jonathan
Partner: UNT Libraries

The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c. 1918-1923

Description: This dissertation investigates how German-language critics articulated and publicly negotiated ideas about music and expressionism in the first five years after World War I. A close reading of largely unexplored primary sources reveals that "musical expressionism" was originally conceived as an intrinsically musical matter rather than as a stylistic analog to expressionism in other art forms, and thus as especially relevant to purely instrumental rather than vocal and stage genres. By focusing on critical reception of an unlikely group of instrumental chamber works, I elucidate how the acts of performing, listening to, and evaluating "expressionist" music were enmeshed in the complexities of a politicized public concert life in the immediate postwar period. The opening chapters establish broad music-aesthetic and sociopolitical contexts for critics' postwar discussions of "musical expressionism." After the first, introductory chapter, Chapter 2 traces how art and literary critics came to position music as the most expressionist of the arts based on nineteenth-century ideas about the apparently unique ontology of music. Chapter 3 considers how this conception of expressionism led progressive-minded music critics to interpret expressionist music as the next step in the historical development of absolute music. These critics strategically—and controversially—portrayed Schoenberg's "atonal" polyphony as a legitimate revival of "linear" polyphony in fugues by Bach and late Beethoven. Chapter 4 then situates critical debates about the musical and cultural value of expressionism within broader struggles to construct narratives that would explain Germany's traumatic defeat in the Great War and abrupt restructuring as a fragile democratic republic. Against this backdrop, the later chapters explore critics' responses to public performances of specific "expressionist" chamber works. Chapter 5 traces reactions to a provocative performance of Schoenberg's Chamber Symphony, op. 9 (1906) at the Berlin Volksbühne in February 1920. Chapter 6 examines the interplay of musical-aesthetic and sociopolitical issues in critical ...
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: August 2016
Creator: Carrasco, Clare
Partner: UNT Libraries

The Prodromus Musicalis of Sébastian de Brossard

Description: Sebastien de Brossard (1655-1730) was a French priest, a zealous collector and historian, a musician of merit, and the author of one of the first dictionaries of musical terminology, the Dictionnaire de musigue of 1703. Largely self-taught in music, Brossard studied theology and philosophy at Caen. He was appointed curate at Strasbourg A in 1687 and maitre de musique in 1689. In 1698 he was made grand chapelain and mattre de musique at Meaux, where he remained until his death. His complete works and immense personal library are contained in the Bibliotheque Nationale in Paris. The first edition of Brossard's solo motets was published in 1695 under the title Elevations et motets a voix seule, avec la basse continue. The title Prodromus Musicalis was used for the second edition, published in 1702, and may be loosely translated "Musical Forerunner" or "Musical Prelude." The motets contain a vocal line with text and a figured bass. The present edition presents a faithful rendering of the figured bass and was prepared from a second edition copy contained in the North Texas State University Music Library. In order to enhance the performance and understanding of the eight motets, much of the prefatory material included in the first edition is translated, the formal and tonal structures are analyzed, and English versions of the texts are given. The many ornaments emplayed in the vocal line are categorized, and their execution is explained.
Date: May 1973
Creator: Bolton, Thomas W. (Thomas Wayne)
Partner: UNT Libraries

Representative Nineteenth-Century Choral Symphonies

Description: This study is concerned with the examination of choral symphonies by major nineteenth-century composers. Its purpose is to delineate the common characteristics which these works have. Emphasis is given to the investigation of the choral elements in the symphonies. Detailed musicological studies of nineteenth-century music are minimal; there has. been a particular lack of interest in nineteenth-century works for chorus. Therefore, the principal sources of data for this study were the full scores of the following nine symphonies: Beethoven's Symphony No. 9, Berlioz' Romeo and Juliet and the Funeral and Triumphal Symphony, Mendelssohn's Lobgesang, Liszt's Faust Symphony and Dante Syrmphony, and Mahler's Symphonies Nos. 2., 3, and 8. Other important sources included major biographies of the composers of the symphonies listed. chapter is devoted to each of these composers, subdivided as follows: a general survey of the composer's other works for chorus and/or orchestra; the historical facts connected with the composition and first performance of the individual symphonies; analysis; and conclusions.
Date: December 1971
Creator: Alexander, Metche Franke
Partner: UNT Libraries

The Lady of the Lake: a Reconstructed Piano-Vocal Score, with Commentary on the Historical Background

Description: The document consists of a commentary on the historical background of the work and an edition of the restored score. The commentary treats its relationship to the ballad opera, sources and alternate settings of the music and libretto, a history of the development of "Hail to the Chief," biographical sketches of the primary composers, and a section on early productions in England and America. The commentary includes a history of the English and American premieres, lengths of the first-runs, and the names of the theatres in which the performances were mounted. The reconstructed score is a piano-vocal performance edition with dialogue, cues, scenery, costume and property plots indicated in detail.
Date: May 1979
Creator: Knox, Robert E., Jr.
Partner: UNT Libraries

San Juan Ixcoi Mass: A Study of Liturgical Music in Northwestern Guatemala

Description: The San Juan Ixcoi Mass is part of the San Miguel Acatan Repertory which was found in the northwestern highlands of Guatemala before being purchased by the Lilly Library at Indiana University. Even though the authorship and date of the mass cannot be established, the mass is similar to works from the Josquin generation. Not discounting the few transcription difficulties as well as isolated compositional weaknesses, the San Juan Ixcoi Mass demonstrates the reasonably high quality of music that was performed and even possibly composed in northwestern Guatemala three centuries ago. A modern performance edition of the mass complete with critical notes and commentary on the transcription is included within the thesis.
Date: August 1979
Creator: Garven, Richard O.
Partner: UNT Libraries

English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture

Description: Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, ...
Date: May 1986
Creator: Treacy, Susan
Partner: UNT Libraries

Beyond the Human Voice: Francis Poulenc's Psychological Drama La Voix humaine (1958)

Description: Francis Poulenc's one-character opera La Voix humaine (1958), a setting of the homonymous play by Jean Cocteau, explores the psychological complexities of an unnamed woman as she experiences the end of a romantic relationship. During the forty-minute work, she sings in a declamatory manner into a telephone, which serves as a sign of the unrevealed man at the other end. Poulenc uses musical motives to underscore the woman's changing emotional states as she recalls her past relationship. The musical dramaturgy in this work resignifies Debussy's impressionist symbolism by collapsing devices used in Pelléas et Mélisande in a language that shifts between octatonicism, chromaticism, harmonic and melodic whole tone passages, and diatonicism. This late work recontextualizes elements in Poulenc's Dialogues des Carmélites (1953-56), and the end of the opera provides a theme for his Sonate pour Clarinet et Piano(1962), as Poulenc reflects on his youthful encounters with Cocteau, Erik Satie, and Les Six.
Date: May 2000
Creator: Beard, Cynthia C.
Partner: UNT Libraries