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.

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Title:An analysis of Mauricio Kagel's Match, for three players
Author(s):Ho, Pinda D.
Advisor(s):Tipei, Sever
Contributor(s):Tipei, Sever; Lund, Erik; Scholwin, Richard M.; Silvers, Michael
Department / Program:School of Music
Discipline:Music
Degree Granting Institution:University of Illinois at Urbana-Champaign
Degree:A.Mus.D. (doctoral)
Subject(s):Kagel
Instrumental theater
music theater
Match
Abstract:This thesis explores Match for three players (1964), composed by Mauricio Kagel (1931- 2008), a piece that, at first glance, appears to be through-composed. But if one reads the score as if a theatrical play script, the ‘form’ of the piece proves not to be what one expects on initial examination. This research serves to illustrate that the form of the piece is jointly-composed of both theatrical and musical elements. By analyzing both elements equally, it will be revealed that the piece is in fact in (musical) binary form. Discovering a form other than simply ‘through-composed’ in Match is significant for several reasons. First, Kagel was greatly influenced by the likes of Herbert Eimert, Karlheinz Stockhausen, and John Cage, figures perhaps most famous for their emphasis on structure, form, and rules in music composition. Second, when looking at a music score from a conventional way, one seeks to find form within the music score itself. Recognizing that theater plays a crucial part for a formal analysis of Match, shows how crucial it is to think in a multi-disciplinary way in order to understand Kagel’s compositional aesthetic. Third, analyses of Kagel’s work are still scarce in modern music literatures, and most research on Kagel is philosophical or historical. This research hence aims to provide a concrete analysis of one of Kagel’s most important works, and hopefully inspire more to come. Chapter 1 analyzes the materials and the framework of Match, examining three parameters of its composition: 1) dynamic range and rhythmic speed; 2) quality of communication; and 3) music/theater corporeality. The three parameters are then labeled according to their status in the performance, using a labeling system which incorporates my own graphic system for analysis. Furthermore, the framework follows Kagel’s own visual, ‘comic-drawing’ compositional techniques that focus on the dramatic aspects such as plot, character relationships, and tensions. Chapter 2 analyzes Match as a work in binary form, jointly constructed by music and theater materials, revealing that Kagel’s artistic aesthetic derives from his equal treatments of different disciplines as compositional materials, utilizing their mutual interactions to create a multi-dimensional phenomenon, engaging the senses in a way that is visual, aural, societal, and emotive. Chapter 3, Conclusions and Suggestions for Future Research, rounds out the discussion, offering possibilities for additional research into the unique genre known as instrumental theatre.
Issue Date:2020
Publisher:School of Music, College of Fine + Applied Arts, University of Illinois at Urbana-Champaign
Genre:Dissertation / Thesis
Type:Text
Image
Language:English
URI:http://hdl.handle.net/2142/109070
Rights Information:Copyright ©2020 by Pinda D. Ho
Date Available in IDEALS:2020-12-07


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