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|Title:||An examination of the theories and compositions of James Tenney, 1982-1985|
|Doctoral Committee Chair(s):||Tipei, Sever|
|Department / Program:||Music|
|Degree Granting Institution:||University of Illinois at Urbana-Champaign|
|Abstract:||This paper examines the theoretical concepts and compositional procedures used by James Tenney in his compositions of the early and mid-1980's. Some of Tenney's earlier writings and compositions are also examined as precursors to his later works. The primary compositions examined in this paper include Glissade, Koan for String Quartet, Bridge, and Changes: Sixty-four Studies for Six Harps.
This paper examines Tenney's theoretical contributions to musical form, harmony, tuning, and aural perception. Tenney's works are presented as rigorous experiments and focused explorations of specific musical concepts and questions. The four primary works examined are presented as the culmination of almost thirty years of such experiments.
Tenney is presented as a contemporary musical pioneer in the continuing tradition of American experimentalism that began with Charles Ives and continued with Carl Ruggles and John Cage.
The author concludes that James Tenney is a major American composer whose past and on-going contributions to theory, perception, and composition are too important to be ignored in contemporary performance and scholarly circles.
|Rights Information:||Copyright 1990 Belet, Brian|
|Date Available in IDEALS:||2011-05-07|
|Identifier in Online Catalog:||AAI9026136|
This item appears in the following Collection(s)
Graduate Dissertations and Theses at Illinois
Graduate Theses and Dissertations at Illinois
Dissertations and Theses [Graduate College] - Music