Note:This thesis is part of a research project submitted in partial fulfillment of the degree of Doctor of Musical Arts in the School of Music. The project also involved the preparation and performance of a recital of music related to the thesis topic.

Files in this item

FilesDescriptionFormat

application/pdf

application/pdfLauren Coleman_Thesis.pdf (3MB)
(no description provided)PDF

Description

Title:The use of the piccolo to represent the demonic in nineteenth-century orchestral literature
Author(s):Coleman, Lauren
Advisor(s):Keeble, Jonathan; Bashford, Christina
Contributor(s):Keeble, Jonathan; Lund, Erik; Schleicher, Donald
Department / Program:School of Music
Discipline:Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D. (doctoral)
Subject(s):piccolo
demonic
Berlioz
Mendelssohn
Liszt
Abstract:The piccolo has a long history of programmatic uses in the orchestral literature, beginning with its very first orchestral performance. The first appearance of the piccolo in mainstream orchestral music occurred in 1808 on a concert of Beethoven’s 5th and 6th symphonies. The 5th symphony uses the piccolo only in the final movement, and it is used in the 6th symphony only during the fourth movement, “Gewitter, Sturm” (Thunder and Storm). Its early use in these two symphonies was quickly imitated by other composers and in other contexts. In the mid-19th century, however, composers began to use the piccolo in a new way, separate from their programmatic treatment of the flute. While the flute is well known for its depictions of birds and pastoral settings, the piccolo began to appear in a variety of other programmatic situations. The specific programmatic use of the piccolo as a representation of the demonic in the music of the 19th century is the focus of this paper. This paper examines four related works as case studies for demonic representation: Hector Berlioz’s Symphonie Fantastique and Damnation de Faust, Felix Mendelssohn’s Die Erste Walpurgisnacht, and Franz Liszt’s Faust Symphony. In each, the composer uses the piccolo as a vital element in his portrayal of the demonic. By comparing the four, some broader conclusions can be made regarding the specific musical elements that comprise this demonic portrayal. Each composer includes an element of parody in his demonic character, reflecting both a strong connection with Johann Wolfgang von Goethe and his Faust, as well as depictions of the demonic in the Bible and more contemporary works. This satirical element is evident in the piccolo’s use of ornamentation and transformation of pre-existing musical themes. This study aims to provide a new perspective on how the piccolo is used programmatically, independent of the flute and its programmatic associations. Performers will find theoretical information to inform their performance of these works, specifically intended to emphasize the demonic associations of each. They will also find specific performance suggestions for the excerpts included in this paper. In addition, this paper is intended to be an initial look at the broader concept of the piccolo and its programmatic implications.
Issue Date:2018
Publisher:School of Music, College of Fine and Applied Arts, University of Illinois at Urbana-Champaign
Genre:Dissertation / Thesis
Type:Text
Image
Language:English
URI:http://hdl.handle.net/2142/102078
Rights Information:Copyright 2018 Lauren Coleman
Date Available in IDEALS:2018-11-28


This item appears in the following Collection(s)

Item Statistics