This essay explores the music of Jo Kondo, focusing on his solo piano composition "High Window" (1996). It is divided into two parts.
Part 1 explores aesthetic terminology from Kondo's English writings, examining excerpts of his works, and drawing comparisons to works and aesthetics of other 20th Century composers. Of particular interest will be comparisons to music and ideas from Morton Feldman and John Cage, both composers for whom Kondo has expressed affinity, musically and personally. The discussion focuses on technical and aesthetic applications of syntactic devices, as well as conceptions of musical time. Part 1 concludes with a discussion of "content," "form," and the role of "mutual relationships" in Kondo's music, and how his attempt to define these potentially vague, yet essential terms differentiates him from some of his contemporaries.
Part 2 applies these conceptions of content, form, and time directly to Kondo's music through an analysis of "High Window." The relationships which I bring to bare in my analysis concern properties such as intersection, distribution, adjacency, recurrence and transitivity. Together, these basic relationships help describe the piece's content and form in a way that is compatible with the composer's own writings and aesthetics. Writings on Jo Kondo in the English language are relatively scarce, especially concerning analyses of his music. It is my hope that this analysis will invite further inquiry into Kondo's music.
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|Advisor:||Morris, Robert, Zohn-Muldoon, Ricardo|
|Commitee:||Koskoff, Ellen, Temperley, David|
|School:||University of Rochester|
|Department:||Eastman School of Music|
|School Location:||United States -- New York|
|Source:||DAI-A 76/03(E), Dissertation Abstracts International|
|Keywords:||Cage, john, Feldman, morton, High window, Kondo, jo, Liberatore|
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