Presented in this thesis are ways in which I have transformed a few of James Tenney's analytical concepts into compositional strategies and procedures, while applying them in composing my string quartet Unda Erosum. I show how Tenney's concept of time-delay in "Temporal Gestalt Perception in Music" can be used in manifesting a complete structure. Also, by employing Tenney's "Harmonic Distance" formula I arrive at a method for creating and ordering a set of chords that reveal a perceptual correlation between harmonic complexity and harmonic distance value. Beginning with a short semiological positioning of Tenney's concerns by borrowing language from Jean-Jacques Nattiez, I then unravel every choice in shaping Unda Erosum as each one bears a phenomenological purpose.
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|Advisor:||Parkins, Zeena, Bischoff, John|
|Commitee:||Payne, Maggi, Phillips, Kimberly L.|
|School Location:||United States -- California|
|Source:||MAI 53/01M(E), Masters Abstracts International|
|Keywords:||Composition, Mateo lugo, Original composition, Phenomenology, String quartet, Tenney, Unda erosum|
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