This dissertation provides aesthetic and historical perspectives of the French spectral music and offers an analysis of Gérard Grisey's late work Vortex Temporum I and II, which was written in 1994-96 and is dedicated to Gérard Zinsstag, Salvatore Sciarrino, and Helmut Lachenmann.
Chapter One is an introduction to the spectral movement, including the characteristics of spectral music and the biographies of three generations of select spectralists. The remainder of this chapter demonstrates certain essential techniques that influence the musical style of Grisey.
A brief introduction to the life of Grisey and some trademarks of Grisey's oeuvres are presented in Chapter Two. Time concepts, an important facet of Grisey's work in general, indicated in Grisey's essay "Tempus ex Machina" is also outlined here.
In Chapter Three, I present an analysis of the first and second movements of Vortex Temporum, a composition for chamber ensemble, consisting of six players: piano, flute (picc/alto/C/bass), Bb clarinet (bass clarinet), violin, viola, and violoncello. In my analysis, I look at aspects of the work such as its basis in various waveforms and how contrasts are formed through use of register, and Grisey's innovative approach to the temporal parameter. I also investigate the convergence of Grisey's spectral attitude and traditional Western classical music in the analysis.
|Commitee:||Nichols, Sam, Pablo, Ortiz, San Martin, Laurie|
|School:||University of California, Davis|
|School Location:||United States -- California|
|Source:||DAI-A 74/03(E), Dissertation Abstracts International|
|Keywords:||Grisey, Gerard, Murail, Tristan, Musical time, Saariaho, Kaija, Spectral music, Vortex Temporum|
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