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Title Page
Contents
Chapter 1. MUSICAL LANGUAGES AFTER WORLD WAR II 11
Chapter 2. BOULEZ, DOMAINES 14
1. Historical Background of the Composer and his Works 14
1. Compositional Analysis of Domaines 26
i. Mallarmé and Boulez 26
ii. Form and structure of Domaines: Variations of variations 29
iii. Pitch and rhythm of Domaines 35
iv. Retrograde relationship between Original and Miroir 47
2. Performance Issues 52
i. Basic concepts of the composition (melody, time, meter, tempo, and rhythm) 52
ii. Optional factors and their notation 56
iii. Suggestions for multiphonics 61
iv. Questionable issues 69
Chapter 3. YUN, RIUL 73
1. The Composer's Life and his Works 73
2. Compositional Analysis of Riul 79
i. Yun's compositional philosophy 79
ii. Standard twelve-tone practices of Riul 81
iii. Structural transposition and their implications 89
iv. General observation on distinctive characters of Riul 91
v. Haupttontechnik 95
vi. Melodic continuity 97
vii. Complementary play of the two lines 103
viii. Repetition of pitch-class order 105
ix. Fluctuation of identity 114
3. Performance issues 116
Chapter 4. CONCLUSIONS 123
Bibliography 124
Figure 2-1. Typological similarity between Un coup de dés (upper) and Domaines (below) 28
Figure 2-2. Disposition of the six instrument groups in Domaines 31
Figure 2-3. Disposition of the six cells in the clarinet solo (Original, Miroir) 31
Figure 2-4. Examples of switching cells between corresponding cells in cahier B and cahier D 32
Figure 2-5. Examples of horizontal reading (left) and vertical reading (right) 33
Figure 2-6. Examples of spatial movement in increasing density (left) and decreasing density... 34
Figure 2-7. Dynamic aggregations of cell 1 of cahier B Original from the composer's manuscript 59
Figure 2-8. Notations of choices 61
Figure 2-9. Replicate pattern of dynamics in the first measure (left) and second... 70
Figure 2-10. Dynamic columns of cell 4 of cahier B Original 72
Figure 3-1. Presence of (012458) 83
Figure 3-2. Shift of prime forms in the clarinet melody (mm. 35-49) 84
Figure 3-3. List of various forms constructed by hexachordal combinatoriality 85
Figure 3-4. Hexachordal combinatoriality between P6 and I11 86
Figure 3-5. Hexachordal combinatoriality between R0 and RI5 86
Figure 3-6. Example of three types of combinatoriality 87
Figure 3-7. The 12 combinatoriality groups representing 12 keys 87
Figure 3-8. Two key areas transposed by 11 88
Figure 3-9. Overall structure of Riul 89
Figure 3-10. Structural areas representing the hexachordal prime form (012458) 89
Figure 3-11. Comparison of the order of the two rows in the clarinet... 94
Figure 3-12. Example of rotation (1) 109
Figure 3-13. Example of rotation (2) 110
Figure 3-14. Three disordered aggregates become RI7 form 115
Figure 3-15. Similarity between P11 and the aggregation used in mm. 54-55 115
Figure 3-16. Gradual destabilization of I4 116
Example 2-1. An example of registral invariance in cahier A 35
Example 2-2. Registral invariance in cahier C Original 36
Example 2-3. Pitch materials of cell 2 (above) and cell 5 (below) in cahier C Original and its... 36
Example 2-4. Whole-tone relationship of cell 1 (above) and cell 5 (below) in cahier A Original 38
Example 2-5. Written score (left), actual order of pitch-classes (middle), and chromatic... 38
Example 2-6. Cell 4 (above), cell 6 (middle) of Cahier A, the pitch set of both cells (below left)... 39
Example 2-7. Transposition of the pitch-class set 6-1 (012345) between cell 5 (above) and... 39
Example 2-8. Reversed order of two pitch groups between cell 2... 41
Example 2-9. Cell 1 of cahier E Original 42
Example 2-10. Cell 3 of cahier E Original 42
Example 2-11. Cell 2 of cahier A Original 43
Example 2-12. Cell 3 of cahier D Original (optional grace notes omitted) 43
Example 2-13. Cell 1 of cahier E Original 44
Example 2-14. Cell 3 of cahier B Original 45
Example 2-15. Cell 1 of cahier B Original 46
Example 2-16. Three pairs of rhythmic palindromes from cell 1 of cahier B Original: bars 1 and... 46
Example 2-17. Cell 4 of cahier B Original 47
Example 2-18. Cell 2 of cahier B Original (left) and cell 4 of cahier B Miroir (right) 48
Example 2-19. Cell 5 of cahier C Original (top) and cell 4 of cahier C Miroir (bottom) 48
Example 2-20. Cell 2 of cahier C Original (top left), cell 1 of cahier C Miroir (top right), and a... 49
Example 2-21. Cell 6 of cahier C Original (left) and cell 3 of cahier C Miroir (right) 50
Example 2-22. Cell 3 of cahier A Original (top left) and cell 2 of cahier A Miroir (top right);... 50
Example 2-23. Cell 4 of cahier D Original (top) and cell 3 of cahier D Miroir (bottom) 51
Example 2-24. Chromatic pitch-class series (left) and its application in cell 2 of... 54
Example 2-25. Cell 4 of cahier B Original 56
Example 2-26. The two tempo markings in cell 1 of cahier A Original 57
Example 2-27. Six dynamic options in cell 4 of cahier B Original 57
Example 2-28. One dynamic option in cell 5 of cahier A Original 58
Example 2-29. Two dynamic options in cell 4 of cahier A Original 58
Example 2-30. Cell 1 of cahier B Original from the composer's manuscript 58
Example 2-31. Cell 3 of cahier B Original 60
Example 2-32. Fingering option for a C4 multiphonic in cell 1 of cahier A Original 62
Example 2-33. Fingering option for a F#4 multiphonic in cell 5 of cahier A Original 62
Example 2-34. Fingering options for the Db5 multiphonic in cell 2 of cahier B Original 64
Example 2-35. Fingering option for C5 multiphonic in cell 4 of cahier B Original 64
Example 2-36. Fingering option for Eb4 multiphonic in cell 4 of cahier B Original 65
Example 2-37. Fingering options for E6 multiphonic in cell 3 of cahier C Original 66
Example 2-38. Fingering option for G4 multiphonic in cell 3 of cahier E Original 67
Example 2-39. Bar 1 of cell 2 of cahier C Miroir (left), the traditional F3 fingering for an F3... 68
Example 3-1. Piano, mm. 1-3, hexachords 82
Example 3-2. Piano, mm. 5-7, chords 82
Example 3-3. Clarinet, mm. 1-2 90
Example 3-4. Clarinet, mm. 50-52 90
Example 3-5. Clarinet, mm. 170-79 91
Example 3-6. Presenting the use of all twelve pitch classes at the beginning... 91
Example 3-7. Continued twelve pitch classes of the clarinet melody 92
Example 3-8. Piano part fills the melodic gaps in the clarinet part (mm. 1- 2) 93
Example 3-9. Vertical presentation of two aggregates in the piano part (mm. 2-3) 94
Example 3-10. Horizontal presentation of the two aggregates in the piano 95
Example 3-11. Clarinet melody in mm. 6-7 97
Example 3-12. Example 3-11 extended 98
Example 3-13. Clarinet and piano, mm. 6- 7 98
Example 3-14. Piano, right hand, mm. 8 99
Example 3-15. Clarinet, part mm. 9-11 99
Example 3-16. Piano, right hand, mm. 12 100
Example 3-17. Piano, mm. 12, chords 100
Example 3-18. Clarinet, mm. 13-17 101
Example 3-19. Piano, mm. 13-14, chords 101
Example 3-20. Piano, mm. 14-17, melodic presentation 102
Example 3-21. Piano, mm. 14-17, use of pitch classes 6 and 10 103
Example 3-22. Clarinet, mm. 2-4 104
Example 3-23. Full score, mm. 8-10 105
Example 3-24. Clarinet, mm. 18-26 106
Example 3-25. Clarinet, mm. 27-30 106
Example 3-26. Piano, mm. 25-26 107
Example 3-27. Piano, mm. 29-30 108
Example 3-28. Score, m. 31 109
Example 3-29. Clarinet, mm. 35-45 111
Example 3-30. Piano, mm. 35-36 111
Example 3-31. Piano, mm. 37-40 112
Example 3-32. Piano, mm. 37-39 113
Example 3-33. Piano, mm. 46-47 113
Example 3-34. Clarinet, mm. 76 114
Example 3-35. Clarinet, mm. 77-79 114
Example 3-36. Fingering option for A6 in mm.17-18 119
Example 3-37. Fingering option for G6 in m. 32 120
Example 3-38. Fingering option for F#6 in mm. 47-48 120
Example 3-39. Fingering option for D#6 in m. 54 121
Example 3-40. Fingering option for D6 in m. 56 121
Example 3-41. Fingering option for G#6 in m. 59 121
Example 3-42. Fingering option for B4 in m. 77 122
Example 3-43. Fingering options for Eb6 (left) and E6 (right) in m. 124 122
Example 3-44. Fingering option for D#6 in m. 185 122
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